| Emma Calvé | |
| Birth Name: | Rosa Emma Calvet |
| Birth Date: | 15 August 1858 |
| Birth Place: | Decazeville, Aveyron |
| Death Place: | Montpellier, Hérault |
| Nationality: | French |
| Occupation: | Operatic dramatic soprano |
| Signature: | Emma Calvé Signature.jpg |
Emma Calvé, born Rosa Emma Calvet (15 August 1858 – 6 January 1942) was a French operatic dramatic soprano.
Calvé was probably the most famous French female opera singer of the Belle Époque. Hers was an international career, and she sang regularly at the Metropolitan Opera House, New York, and the Royal Opera House, London.
Calvé was born on 15 August 1858 in Decazeville, Aveyron. Her birth name was Rosa Emma Calvet. Her father, Justin Calvet, was a civil engineer. She spent her childhood at first in Spain with her parents, then in different convent schools in Roquefort and Tournemire (Aveyron). After her parents separated, she moved with her mother to Paris. There she attempted to enter the Paris Conservatory, while she studied singing under Jules Puget.
She started learning music in Paris from Mathilde Marchesi, a retired German mezzo-soprano and Manuel García. She made a tour of Italy, where she saw the famous actress Eleonora Duse, whose impersonations made a deep impression on the young singer. She trained herself in stage craft and gesture by closely observing Duse's performances.
She made her operatic debut on 23 September 1881 in Gounod's Faust at Brussels' La Monnaie. Later she sang at La Scala in Milan, and also at the principal theatres of Naples, Rome, and Florence.
Returning to Paris in 1891, she created the part of Suzel in L'amico Fritz by Pietro Mascagni, playing and singing the role later at Rome. Because of her great success in it, she was chosen to appear as Santuzza in the French premiere of Cavalleria rusticana, which was viewed as one of her greatest parts. She repeated her success in it in London.
In 1892, she spent six months in Rome, studying under Domenico Mustafà, the last castrato head of the Sistine Chapel Choir, adding half an octave to the top of her range.Her next triumph was Bizet's Carmen. Before beginning the study of this part, she went to Spain, learned the Spanish dances, mingled with the people and patterned her characterization after the cigarette girls whom she watched at their work and at play. In 1894, she made her appearance in the role at the Opéra-Comique, Paris. The city's opera-goers immediately hailed her as the greatest Carmen that had ever appeared, a verdict other cities would later echo. She had had many famous predecessors in the role, including Adelina Patti, Minnie Hauk and Célestine Galli-Marié, but critics and musicians agreed that in Calvé they had found their ideal of Bizet's cigarette girl of Seville.Calvé first appeared in America in the season of 1893–1894 as Mignon. She would make regular visits to the country, both in grand opera and in concert tours. After making her Metropolitan Opera debut as Santuzza, she went on to appear a total of 261 times with the company between 1893 and 1904. She created the part of Anita, which was written for her, in Massenet's La Navarraise in London in 1894 and, in 1897, sang Sapho in an opera written by the same composer.
She sang Ophélie in Ambroise Thomas's Hamlet in Paris in 1899, but the part was not suited to her and she dropped it. She appeared with success in many roles, among them, as the Countess in The Marriage of Figaro, the title role in Félicien David's Lalla-Roukh, as Pamina in The Magic Flute, and as Camille in Hérold's Zampa, but she is best known as Carmen.
Calvé's Metropolitan Opera career ended abruptly in 1904, as Irving Kolodin described in his book The Metropolitan Opera [Knopf 1968]. She was to sing a group of Provençal songs at the Met's Sunday evening concert. Music director Felix Mottl was to accompany her at the piano. "As they were about to begin, she turned and asked him to transpose the music a tone lower. When he refused, she walked off the stage and out of the Metropolitan's history. When she reappeared in New York, it was with Hammerstein's company (1907)."
Calvé developed an interest in the paranormal and was once engaged to the occult author Jules Bois.[1]
In the winter of 1893/1894 the Swiss-born American artist Adolfo Müller-Ury (1862–1947) executed a life-size portrait of her standing full-length in a green-blue dress, wearing an opera cloak of white and gold with a sable edge, clutching American Beauty roses. It is now lost, but a pastel he made of her in March 1894 has been discovered in a London private collection.
Calvé died on 6 January 1942 at Montpellier, Hérault, and is buried in Millau.[2] Her voice is preserved in a number of recordings made between 1902 and 1920. These are available on CD transfers.
While performing in Chicago, Calvé's only daughter died in a fire accident. This tragic incident had a serious mental toll on her. It was in this period of intense grief that she met Swami Vivekananda, who prevented her from committing suicide and restored her back to her former cheerful form. Calvé had accompanied Vivekananda as his partner along with Miss Josephine MacLeod, Sir Francis Jules Bois and his wife and Sarah Bernhard while they travelled through Europe and Egypt from 1899 to 1901.
Calvé wrote of Swami Vivekananda in her autobiography: "[He] truly walked with God, a noble being, a saint, a philosopher and a true friend. His influence upon my spiritual life was profound ... my soul will bear him eternal gratitude".[3] [4]
She also visited Belur Math, Swami Vivekananda's tribute to his guru Ramakrishna Paramahansa. She said of this visit and her association with the monks there: "The hours that I spent with these gentle philosophers have remained in my memory as a time apart. These beings – pure, beautiful and remote seemed to belong to another universe, a better and wiser world"[5] [6]
Swami Vivekananda wrote of Calvé:[7]
She was born poor but by her innate talents, prodigious labour and diligence, and after wrestling against much hardship, she is now enormously rich and commands respect from kings and emperors. ... The rare combination of beauty, youth, talents, and "divine" voice has assigned Calve the highest place among the singers of the West. There is, indeed, no better teacher than misery and poverty. That constant fight against the dire poverty, misery, and hardship of the days of her girlhood, which has led to her present triumph over them, has brought into her life a unique sympathy and a depth of thought with a wide outlook.
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