Mathilde Marchesi

Mathilde Marchesi

Mathilde Marchesi (born: Mathilde Graumann; March 24, 1821 – November 17, 1913) was a German mezzo-soprano, a renowned teacher of singing, and a proponent of the bel canto vocal method.

Biography

Marchesi was born in Frankfurt-am-Main (now in the German state of Hesse). Her father's name was Graumann. In her adolescence her family fortunes failed, so she travelled at the age of 22 to Vienna to study voice. Thereafter she went to Paris and studied with Manuel García II, who was to have the foremost influence on her. She made her debut as a singer in 1844, and had a short career in opera and recital. Her voice, however, was only adequate, so she moved to teaching in 1849. In 1852, she married Italian baritone Salvatore Marchesi, Cavaliere de Castrone (d. 1908).

It was in this field that she would become famous. She taught at conservatories in Cologne and Vienna and in 1881 opened her own school on the Rue Jouffroy in Paris, where she was to remain for most of her life. Ultimately, she was best known as the vocal teacher of a number of great singers. The most famous among them is perhaps Nellie Melba, but she also trained such illustrious singers as Emma Calvé, Frances Alda, Ellen Gulbranson, Selma Kurz and Emma Eames. Marchesi died in London in 1913.

Today Marchesi is remembered not at all for her singing career. Rather, she is known first and foremost as the teacher of a surprising number of great singers, and also as the person who carried the bel canto technique into the 20th century. Her ideas are still studied, primarily by female singers, especially those with voices in the soprano range, in which Marchesi had specialized.

Teachings

Marchesi was clearly committed to the bel canto style of singing. Despite this, she did not particularly identify herself as a bel canto teacher. She asserted that there were only two styles of singing: "the good...and the bad" and argued that a properly trained vocalist could sing the old bel canto style just as easily as the then newer, more dramatic style.

She was generally an advocate of a naturalistic style of singing: she called for a fairly instinctive method of breathing and argued against the "smiling" mouth position that many teachers of her day preferred. She was particularly concerned with vocal registration, calling it "the Alpha and Omega of the formation and development of the female voice, the touchstone of all singing methods, old and new." She also repeatedly expressed disdain for the teachers of her day who offered methods that they asserted would fully develop the voice in only a year or two. Instead, she felt that vocal training was best approached at a slow and deliberate pace.

Two of the most distinctive features of her teachings were her "analytical method" and her insistence on very short practice times for beginners. Her "analytical method" placed great importance on intellectually understanding both the technical and the aesthetic nature of everything sung, from grand arias to simple vocal exercises. She argued that rote practice without understanding was ultimately harmful to the artistic use of the voice. Most distinctively, though, she insisted on very short practice times for beginners, as little as five minutes at a stretch three or four times a day for absolute beginners. Of course, as the voice matured those times could and should be expanded.

Pupils

Among her pupils were;

Suzanne Adams Frances Alda Sigrid Arnoldson Blanche Arral Kate Bensberg Nadina Bulcioff Emma Calvé Ada Crossley Ilma Di Murska Marie Duma Emma Eames

Rose Ettinger Antonietta Fricci Mary Garden Etelka Gerster Katharina Klafsky Gabrielle Krauss Selma Kurz Miriam Licette Estelle Liebling Blanche Marchesi (her daughter) Dame Nellie Melba

Yevgeniya Mravina Louise Natali-Graham Emma Nevada Aglaja Orgeni Gina Oselio Ema Pukšec (known as Ilma de Murska) Regina Pacini Rosa Papier Marta Petrini Louise Rieger

Caroline Salla Sybil Sanderson Frances Saville Nadina Slaviansky Maggie Stirling Florence Toronta Guillaume Tremelli Inez McCune Williamson Ellen Beach Yaw Nadezhda Zabela-Vrubel

(Some pupils were noted on an 1899 dedicatory poster, Anniversary Fete - fifty years professorship, Mathilde Marchesi, 1849-1899):

Family

Her daughter, Blanche Marchesi (1863-1940), a contralto, also a noted singer and teacher, made her début at a young age. She first appeared in opera at Prague in 1900, and subsequently sang at Covent Garden in 1902 and 1903. She was an admired concert singer.

References

• Marchesi, Mathilde. Bel Canto: A Theoretical and Practical Vocal Method. Dover (1970). ISBN 0-486-22315-9
• Marchesi, Mathilde. Marchesi and music: passages from the life of a famous singing teacher. New York ; London : Harper & Bros. Publishers, 1898.
• Marchesi, Mathilde. Ten Singing Lessons. Preface by Madame Melba, introduction by W. J. Henderson. New York ; London : Harper , 1901.
•  "Marchesi, Mathilde". Encyclopædia Britannica (12th ed.). 1922. 
• Somerset-Ward, Richard. Angels & Monsters: Male and Female Sopranos in the Story of Opera, (Chapter 10, "Marchesi's Pupils"). New Haven ; London : Yale University Press, 2004. ISBN 0-300-09968-1

External links

• The Marchesi Collection contains many papers of Mathilde Marchesi, in the Music Division of The New York Public Library for the Performing Arts
• Free scores by Mathilde Marchesi at the International Music Score Library Project
• Madame Marchesi - Some of Her Teaching Principles, from The Etude Magazine, April, 1904.
• Truths for Singing Teachers and Students, by Mme. Mathilde Marchesi, from The Etude Magazine, October, 1913.

Persondata
Name	Marchesi, Mathilde
Alternative names
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Date of birth	March 24, 1821
Place of birth
Date of death	November 17, 1913
Place of death