Page:A Dictionary of Music and Musicians vol 4.djvu/598

582 since it probably refers to another Thomas Carter, who died Nov. 8, 1800, aged 32, of liver complaint. (Gent. Mag.) A third of the same name was a musician in Dublin and was living at the beginning of the present century. (Dict, of Nat. Biog.) The composer of the operas, etc., died Oct. 16 (not 12), 1804, aged (according to the Sun newspaper) 60. W. Hawes, who remembered him well, told the late T. Oliphant that this Carter had never been to India. [ J. M. ]

CARULLI,. Add day of birth, Feb. 10.

CARUSO,. Add day of birth, Sept. 25.

CARVALHO,, née Miolan, born Dec. 31, 1827, at Marseilles, received instruction from her father, Felix Miolan, an oboe player, and from Duprez at the Conservatoire, Paris (1843–47), where she obtained the first prize in singing. She made her début in the first act of 'Lucia,' and in the trio of the second act of 'La Juive,' at Duprez's benefit Dec. 14, '49. In 1849–56 she sang at the Opéra Comique, and made her reputation as Isabelle in 'Le Pré aux Clercs,' as the heroines on the respective productions of 'Giralda' and 'Les Noces de Jeannette,' July 20, '50, and Feb. 4, '53. In the latter year she married Carvalho, then engaged at the same theatre. From 1856–69 she sang at the Lyrique, where she first appeared in a new opera, 'La Fanchonnette' (Clapisson), and where she increased her reputation as the foremost female lyric artist of the French stage. She appeared as Cherubino, Zerlina ('Don Giovanni'), with Nilsson (Elvira) and Charton-Demeur (Donna Anna), as Pamina to the Astrifiammante of Nilsson, and in new operas of Massé and Gounod, i. e. 'La Reine Topaze,' Dec. 27, '56, 'Faust,' March 19, '59, 'Philémon et Baucis,' Feb. 18, '60, 'Mireille,' March 19, '64, and 'Roméo et Juliette,' April 27, '67. 'The opera stage has rarely seen a poet's imagining more completely wrought than in the Marguerite of Mme. Miolan-Carvalho … I had … watched the progress of this exquisitely finished artist with great interest … finding in her performances a sensibility rarely combined with such measureless execution as hers—and it has been fancied hardly possible to a voice in quality like hers, a high and thin soprano with little volume of tone—but I was not prepared for the delicacy of colouring, the innocence, the tenderness of the earlier scenes, and the warmth of passion and remorse and repentance which one then so slight in frame could throw into the drama as it went on. Rarely has there been a personation more complete or more delightful. Those know only one small part of this consummate artist's skill that have not seen her in this remarkable Faust.' (Chorley). In '69–70 and later she sang alternately at the Grand Opera and the Opéra Comique until her final retirement, which took place in scenes from 'Faust' and 'Mireille' at the Opéra Comique, June 9, 1885. She sang in a duet from the latter opera, with Faure, at the concert given at the Trocadéro on June 8, 1887, for the benefit of the sufferers in the fire at the Opéra Comique. She first appeared in England at the Royal Italian Opera as Dinorah, with great success, on the production of that opera ('Pardon de Ploërmel') July 26, '59. She sang every season until '64 inclusive, and again in '71–72, and worthily maintained her reputation—viz. as Margaret on the production of 'Faust,' Oscar ('Ballo in Maschera'), the Zerlinas (Mozart and Auber), Matilde, Donna Elvira, Rosina ('Barbiere' and 'Nozze'), Catarina ('L'Etoile du Nord'), etc., and in the small part of the Happy Shade in 'Orfeo.' Mme. Carvalho has also sung at Berlin, St. Petersburg, and elsewhere.

, known as Carvalho, born 1825, educated at the Paris Conservatoire, where in 1848 he obtained an accessit, played small parts at the Opéra Comique, was manager of the Lyrique, in '56–'69, afterwards at the Vaudeville, where he produced Sardou's celebrated 'Rabagas'; in '76 became manager of the Opéra Comique. In consequence of the fire of May 25, 1887, a heavy fine was imposed upon him, and he was imprisoned for a time, since the accident was judged to be the result of managerial carelessness. In 1888 he was succeeded by M. Paravey. [ A. C.]

CASE,. Line 3 of article, add that he became a Scholar of St. John's College in 1564, and that he took the degree of B.A. in 1568, and that of M.A. in 1572. (Dict. of Nat. Biog.)

CASTELLAN,, born at Beaujeu (Rhone), Oct. 26, 1819, received instruction in singing from Bordogni and Nourrit at the Paris Conservatoire, where she remained six years; she obtained an accessit in solfeggio in '31, first premium '33, second premium in singing '35, and finally a first premium in singing and second premium in opéra comique in '36. She went on the operatic stage in Italy, and sang with success at Turin, Milan, and Florence (where in '40 she married Enrico Giampetro, a singer), also at Vienna, etc. She next sang in the United States and Mexico. She first appeared in England May 13, '44, at a Philharmonic concert, with such success that she was reengaged at a subsequent concert on June 10, also at concerts given by Sterndale Bennett, Benedict, etc. In the winter she sang in Italian opera in St. Petersburg. On April 1, '45, she first appeared at Her Majesty's as Lucia, with fair success, and remained there during that and the two next seasons, as the successor to Persiani, singing, among other parts, Zerlina ('Don Giovanni'), Fiordiligi ('Così fan Tutte'), Amina, Linda di Chamouni, Adina ('L'Elisire d'Amore'), and Isabella, on production in Italian of 'Robert le Diable,' May 4, '47, for Jenny Lind. From '48 to '52, except '49, when she was at the Grand Opera, Paris, where she was the original Bertha in 'Le Prophète,' she sang each season at Covent Garden, where she proved herself a pre-eminently 