Zulmé Dabadie

Zulmé Dabadie, born Zulmée Leroux and also known as Louise-Zulmé Dabadie (15 October 1795 – 21 November 1877), was a French opera singer active at the Paris Opéra, where she sang both soprano and mezzo-soprano roles. Amongst the roles she created were Jemmy in Rossini's William Tell and Sinaïde in his Moïse et Pharaon. Born in Boulogne-sur-Mer and trained at the Conservatoire de Paris, she made her stage debut at the Paris Opéra in 1821 and remained with that company until her retirement from the stage in 1835. After her retirement she taught singing in Paris, where she died at the age of 82. She was married to the French baritone Henri-Bernard Dabadie.[1]

Zulmé Dabadie
Born
Zulmée Leroux

(1795-10-15)15 October 1795
Boulogne-sur-Mer, France
Died21 November 1877(1877-11-21) (aged 82)
Paris, France
OccupationOpera singer
SpouseHenri-Bernard Dabadie
FamilyClara Lavry (sister)
Signature

Early life and training

She was born Zulmée Leroux on 15 October 1795 in Boulogne-sur-Mer,[2][lower-alpha 1] where she began her music studies.[11] Her father was Benoît Leroux, a musician, and her mother was Louise Pallasalle.[2] Her younger sister, Clara Leroux (born 1806 in Boulogne-sur-Mer), also became a singer, who after her marriage was known as Mme Lavry and debuted at the Opéra as the Lady-in-waiting to Isabelle in the 1831 premiere of Meyerbeer's opera Robert le diable.[10][lower-alpha 2]

Zulmé Leroux enrolled at the Conservatoire de Paris on 9 July 1814, made rapid progress in solfège and continued her studies in singing under Charles-Henri Plantade.[7] She was awarded first prize in singing and declamation in 1819 and second prize in piano in 1823.[7][8]

Career at the Opéra

She made her stage debut under the name Zulmé Leroux at the Paris Opéra on 31 January 1821 as Antigone in Sacchini's Œdipe à Colone.[14] On 23 March of that year she was offered a permanent position at the Opéra as a cover (remplacement) for the primadonnas Caroline Branchu and Caroline Grassari, singing their roles when they were unavailable. When Branchu retired, Dabadie was promoted to the first rank.[7]

On 6 November 1821, she married one of the Opéra's leading baritones, Bernard Dabadie,[15] and was billed as Mme Dabadie when she created the title role of Anton Reicha's Sapho on 16 December 1822.[16] She and her husband often appeared together in the premieres of the same operas, such as Rossini's Moïse et Pharaon (26 March 1827) and William Tell (3 August 1829).[9] The couple had several children, including a son Victor (1823–1853)[10] and a daughter Claire (born 19 January 1837), who was also a musician prior to her marriage to the architect Edmond Guillaume on 13 June 1866.[3][5][11]

Her first big success in a major role at the Opéra came in August 1825 as Julia in Spontini's La vestale. In June of that year she had sung the role of The Spirit of France in Boieldieu's Pharamond. The opera was a failure at its premiere, which was attended by the recently crowned King Charles X, and only the final tableau with Dabadie was singled out for praise. She appeared on a cloud dressed in a gold breastplate and helmet and carrying a banner emblazoned with the fleur-de-lis. She then gestured to the back curtain, which parted to reveal a receding line of illustrious French kings ending with the Arc de Triomphe and the Tuileries Palace on the far horizon.[5][11][7][17]

Dabadie as the angel Mizaël in La tentation, 1832
Dabadie as Pamyra in Le siège de Corinthe

Dabadie went on to create the roles of Sinaïde in Moïse et Pharaon (1827), Lady Macbeth in Chélard's Macbeth (1827), Jemmy in William Tell (1829), Mizaël in La tentation (1832), and Arvedson in Gustave III (1833).[1] Her other leading roles at the Opéra included Eurydice in Orphée et Eurydice, Iphigénie in Iphigénie en Tauride, Pamyra in Le siège de Corinthe, Adèle in Le comte Ory, Amazily in Fernand Cortez, and Églantine in the first French performance of Euryanthe. Dabadie's voice was beautiful and well-schooled, with a purity of style and diction, but Laure Cinti-Damoreau somewhat eclipsed her fame when she joined the company in 1826. Several of the leading roles in Paris Opéra premieres were given to Cinti-Damoreau, with Dabadie either in secondary roles (as in Moïse et Pharaon and William Tell) or singing Cinti-Damoreau's roles in revival performances (such as Le siège de Corinthe and Le comte Ory).[5][11][9]

Other activities

From 1821 to 1830, Dabadie was also a principal singer in the Chapelle royale of Louis XVIII and later Charles X. She had been engaged by the Duc de La Châtre in 1821 after he heard her performance at Notre Dame Cathedral in a Te Deum marking the baptism of the Count of Chambord. In addition to her appearances at the Opéra and the Chapelle royale, Dabadie regularly sang in the concert series held by the Société des Concerts du Conservatoire and twice performed cantatas in the final round of the Prix de Rome composition competition.[lower-alpha 3] In 1827 she sang Jean-Baptiste Guiraud's version of La Mort d'Orphée, the first-prize winner. Berlioz hired her to sing his version of Hermine for the 1828 competition and was awarded the second prize. He hired her again in 1829 for La mort de Cléopâtre. She sang in the qualification round, but a last-minute rehearsal for the premiere of William Tell prevented her from singing it in the final round. Instead, she sent her sister Clara, who was still a student at the Paris Conservatory and was overwhelmed by the difficulty of the score. Berlioz failed to win either first or second prize.[5][19]

Retirement and later life

Dabadie and her husband retired from the stage in 1835, after which they both taught singing in Paris. Writing in 1861, François-Joseph Fétis attributed her relatively early retirement to a serious deterioration of her voice and claimed that this early vocal decline was due to the "deplorable" training system at the Paris Conservatory during the years she studied there. This assessment was strongly disputed by Jacques-Léopold Heugel in his obituary of Dabadie published in Le Ménestrel. According to Heugel, her vocal powers were undiminished at the time of her retirement. He wrote that Dabadie had been schooled and excelled in works of the earlier classical composers such as Gluck, Sacchini, and Spontini and saw no future for herself in the newer repertoire that was coming into vogue at the Opéra.[7][5]

Her husband, Bernard Dabadie, died in 1853.[10] Zulmé died at her home on the rue Louis-le-Grand in Paris on 21 November 1877 at the age of 82.[4] Following her funeral at the Église de la Madeleine, she was buried next to her husband in Montmartre Cemetery.[10][6]

Notes
  1. A birth date of 15 October 1795 is consistent with her reported ages of 70 at the time of the marriage of her daughter Claire on 13 June 1866[3] and 82 at her death on 21 November 1877.[4][5][6] François-Joseph Fétis states she was born in Paris on 20 March 1804.[7] Constant Pierre, a historian of the Conservatoire de Paris, gives her name as Louise-Zulmé Le Roux and her birth date as 20 March 1804, but says she was born in Pas-de-Calais [where Boulogne-sur-Mer is located].[8] A birth date of 20 March 1804 and birth place of Boulogne-sur-Mer are also given by Elizabeth Forbes in The New Grove Dictionary of Opera[1] and by the Großes Sängerlexikon.[9] Jean-Louis Tamvaco says she was born in Boulogne-sur-Mer on 15 October 1797.[10]
  2. According to Jean-Louis Tamvaco, she had another sister, Pauline Leroux (1809–1891), a dancer whose father was an army officer who had died in 1812 during the retreat from Moscow.[10][12][13] That Pauline Leroux was Zulmé Dabadie's sister may be erroneous, since Pauline Leroux's father is said to have been Louis-Bénigne-Marie Leroux and mother, Marguerite-Suzanne (née Lecocq).
  3. For the Prix de Rome, the competitors were all required to set the same text as a cantata. The competitors hired their own singers for the performances before the jury.[18]

References
  1. Forbes, Elizabeth (1992). "Dabadie (née Zulme Leroux), Louise". Grove Music Online. Retrieved 3 November 2019 (subscription required for full access).
  2. Commons:File:Birth record of Zulmé Leroux – Archives départementales du Pas-de-Calais, Boulogne-sur-Mer, section des Cazernes, acte de naissance n°66 dressé le 24 vendémiaire an IV, vue 460.png
  3. Commons:File:Record of marriage 13 June 1866 Edmond Guillaume and Claire Dabadie 2nd arrond of Paris V4E 161 view 26 of 31 No. 423 archives AD075EC V4E 00161 0089.JPG
  4. Commons:File:Record of death of Zulmé Leroux on 21 Nov 1877.jpg
  5. Heugel, Jacques-Léopold (25 November 1877). "Nécrologie". Le Ménestrel, p. 416. Retrieved 3 November 2019 (in French).
  6. Béjart, Frédéric (24 November 1877). "Courrier des théâtres". Le Petit Parisien, p. 4. Retrieved 5 November 2019 (in French). See also: Commons:File:Death notice of Zulmé Dabadie in Le Petit Parisien, 24 Nov 1877.png.
  7. Fétis, François-Joseph (1861) "Dabadie (Mme. Louise-Zulmé)". Biographie universelle des musiciens, Vol. 2, p. 410. Firmin Didot (in French)
  8. Constant Pierre, "Le Roux (Louise-Zulmé), née 20 mars 1804", p. 796, in Le Conservatoire national de musique et de déclamation (Paris, Imprimerie Nationale, 1900).
  9. Kutsch, Karl-Josef and Riemens, Leo (2004). "Leroux-Dabadie, Louise-Zulme". Großes Sängerlexikon (4th edition), p. 2695. Walter de Gruyter. ISBN 359844088X (in German)
  10. Tamvaco, Jean-Louis (2000). "Dabadie / Leroux [les]", pp. 919–921, in Les Cancans de l'Opéra: Chroniques de l'Académie Royale de Musique et du théâtre, à Paris sous les deux Restaurations. CNRS. 1307 pages. OCLC 1063925895. ISBN 2271057426.
  11. White, Kimberly (2018). Female Singers on the French Stage, 1830–1848, p. 146. Cambridge University Press. ISBN 1108643191
  12. Smith, Marian (2004). "Backstage at the Paris Opéra in the 1830s" [review of Jean-Louis Tamvaco's Les cancans de l'Opéra: Chroniques de l'Académie Royale de Musique et du théâtre, à Paris sous les deux Restaurations, which includes a critical edition of Louis Gentil's manuscript Les Cancans de l'Opéra, or Le journal d'une Habilleuse, from 1836 to 1848, pp. 99–562]. Dance Chronicle, vol. 27, no. 3, pp. 427–431. JSTOR 1568171.
  13. Hallman, Diana R. (2007). Opera, Liberalism, and Antisemitism in Nineteenth-Century France, p. 274. Cambridge University Press. ISBN 0521038812.
  14. "Mme Dabadie", plate 45, in Galerie Théâtrale, ou Collection des portraits en pied des principaux acteurs des premiers théâtres de la capitale, vol. 3. Paris: Bance ainé. [Undated, but this internal evidence suggests a date of 1842: "Les dates mortuaires non remplies disent que l'acteur, soit en activité, soit retiré, vit encore en 1842."]
  15. Commons:File:Reconstituted record of marriage 6 Novembre 1821 Bernard Dabadie and Zulmée Leroux V3E-M 247 vue 21-51 archives AD075ER V3E M 00247 00619 C.JPG
  16. Empis, A. S.; Cournol, H. (1822). "Personnages. Acteurs." in Sapho, tragédie lyrique en trois actes [music by Anton Reicha]. Paris: Roullet.
  17. Walton, Benjamin (2007). Rossini in Restoration Paris: The Sound of Modern Life, p. 76. Cambridge University Press. ISBN 0521870607
  18. Hamer, Laura (2018). Female Composers, Conductors, Performers: Musiciennes of Interwar France, 1919–1939, p. 143. Routledge. ISBN 1315451476
  19. Rushton, Julian (2013). Liner notes: Hector Berlioz, Les Nuits d'été and La Mort de Cléopâtre, p. 13. Linn Records 0421. Retrieved 5 November 2019.
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