Page:A Dictionary of Music and Musicians vol 2.djvu/183

LUCCA. Sept. 4, 1859, she made her début at Olmütz as Elvira in 'Ernani,' and there became a favourite at once. In March 1860 she appeared at Prague as Valentine in 'The Huguenots,' and as Norma. The fame of a young singer of rare gifts, including the rarest of all, original genius, reached Meyerbeer in Berlin, then vainly seeking an artist to whom he could entrust the unconventional rôle of Selika in his yet unpublished 'Africaine.' At his instigation Mlle. Lucca was engaged for Berlin, where she first appeared in April 1861, and soon roused an enthusiasm rarely equalled by any former singer. She studied the rôle of Selika and others under Meyerbeer's personal supervision. At Berlin she was engaged as Court singer for life; and on July 18, 1863, made her first appearance in this country, at Covent Garden, in the part of Valentine, creating an extraordinary impression, which was further enhanced by her performance of Margherita, in 'Faust,' during her second fleeting visit to our shores the following year. In July [App. p.706 "On July 22,"] 1865 the Africaine was produced at Covent Garden, and Mlle. Lucca's impersonation of Selika must be ranked among the very highest achievements in the lyrical drama. She reappeared in London every season (excepting 69) up to 1872; and sang throughout Germany with triumphant success, and at St. Petersburg, where she was received with the wildest enthusiasm. Her voice, a full soprano, with a compass of 2½ octaves extending easily to C in alt, and sympathetic throughout, seemed capable of taking every grade of expression; and to her rare lyrical endowments she united one still rarer—a genius for representation. In London, besides the parts specified above, she was heard mostly in Zerlina (Fra Diavolo), Leonora (Favorita), and Cherubino; but Berlin knew better the extent of a repertoire said to include over 56 rôles. Auber was so delighted with her singing of his music, that he presented her with the pen with which 'Fra Diavolo' was written, in token of his admiration. Meyerbeer pronounced her a very David Garrick, and no wonder. To each impersonation she imparted a specific individuality, presenting characters as directly opposed as Cherubino and Selika, Halévy's Juive and Nicolai's Merry Wife of Windsor, Wagner's Elsa, and Angela in the 'Domino Noir,' with the same truth, natural ease, and vivid originality; whilst to colourless rôles, such as Agata in the Freischütz, she gave a distinct personality and charm. In 1872 she severed her connection with Berlin, and went to America, where she remained two years, on an operatic tour through the States. She returned to Europe in 1874, and sang at all the chief cities of Germany, except Berlin. At Vienna, where she now resides, she has remained one of the chief attractions of each season. Besides starring engagements in Germany, she appeared in Brussels 1876, St. Petersburg and Moscow 1877, and Madrid 1878. At Vienna she has recently added Donna Anna, Carmen, and Madeleine in 'Le Postilion,' to her list of successful parts. In 1865 she married Baron Rahden. [App. p.706 "in the Italian seasons of 1882–4, at Covent Garden, Mme. Lucca appeared in the parts of Selica, Cherubino, Carmen, etc., and was announced to appear in 'Colomba,' but that opera was not produced."] [ B. T. ]

LUCCHESINA,, an Italian mezzo-soprano, who sang in London, 1737–39. In the former year she played Rosimonda in Handel's 'Faramondo'; in the following year, beside other parts, that of Arsamene, a male character, in 'Serse'; and she sang the music of David in 'Saul' on its first production, Jan. 16, 1739. [ J. M. ]

LUCIA DI LAMMERMOOR. Opera in 3 acts; libretto by Cammarano, music by Donizetti. Produced at Naples in 1835; in Paris, in 4 acts (words by A. Royer and Waez), at the Theatre de la Renaissance, Aug. 10, 1839, and the Académie-royale Feb. 20, 1846; in London, at Her Majesty's, April 5, 1838; in English, at Princess's theatre, Jan. 19, 1843. [ G. ]

LUCIO SILLA. A Dramma per musica, in 3 acts; libretto by G. da Camera, music by Mozart. Produced at Milan Dec. 26, 1772—the last which he wrote for Italy, [ G. ]

LUCREZIA BORGIA. Opera in 3 acts; libretto adapted by Romani from Victor Hugo's drama, music by Donizetti. Produced at La Scala, Milan, Spring, 1834; given at Theatre Italien. Paris, Oct. 27, 1840. Victor Hugo then stopped the performance, and the words were re-written under the title of 'La Rinegata.' In England it was produced (in 2 acts) at Her Majesty's theatre June 6, 1839, for the début of Mario; in English, at Princess's theatre, Dec. 30, 1843. [ G. ]

LÜBECK,, conductor and violinist, born Feb. 11, 1799, at Alssen, near Dusseldorf; held the post of Kapellmeister at the Hague until his death, Feb. 11, 1866. His eldest son,, a very distinguished pianist, was born 1829, and first appeared in public at 12 years of age, when he played Beethoven's E&#x266d; Concerto. He made a tour to the United States, Mexico and Peru, which lasted from 1849 to 1852. On his return he was made Court pianist at the Hague. In 1855 he moved to Paris, where he principally resided until driven from the city by the disturbances of the Commune, which gave a shock to his brain from which it never recovered. He became at length hopelessly insane, and died Sept. 17, 1876. He wrote only for piano. Among his compositions are the following:—Berceuse in A&#x266d;, op. 13; Tarentelle; Polonaise, op. 14; 'Trilby the Sprite, Révérie caracteristique.' The two former were chosen by him for performance at the Philharmonic Concert May 7, 1860, when he also played Mendelssohn's Concerto in G minor. In the same year he first appeared at the Musical Union. His playing was distinguished for brilliancy and technique. Berlioz says of him: 'Son talent est tout à fait extraordinaire, non seulement par un mécanisme prodigieux, mais par un style musical excellent et irreprochable. C'est la verve unie à la raison, la force unie à la souplesse; c'est brillant, pénétrant, et élastique comme une lame d'épée.'

His brother,, born 1832 at the Hague, was for some years teacher of the violoncello at the Leipzig Conservatorium, until about 1872, when he moved to Frankfort. [ J. A. F. M. ]