A Dictionary of Music and Musicians/Cabel, Marie

CABEL, Marie Josephe, née Dreulette, born at Liège Jan. 31, 1817. Showed at an early age a great talent for the piano. After the death of her father she became acquainted with Cabel, a teacher of singing, who discovered her fine voice, instructed, and finally married her. In 47 she went with her husband to Paris, and first appeared at the Chateau des Fleurs. On Meyerbeer's recommendation she studied for two years in the Conservatoire, and in 29 came out at the Opera Comique with great success. After this she divided her time between Brussels and Paris, and in 1854 appeared in the important and difficult part of Catherine in the 'Etoile du Nord,' expressly written for her by Meyerbeer. In 59 he wrote for her the part of Dinorah. In 60 she played the Figlia del Reggimento at Her Majesty's Theatre July 14, and appeared in the Shadow scene from Dinorah, July 28. In 61 she played at St. Petersburg, and soon after left the boards. Her voice was not large, but sympathetic and of extraordinary flexibility, and she was a very clever actress.

[ G. ]

[App. p.574 "Correct the existing article by the following:—Her name was properly Cabu; she studied at the Conservatoire in 1848–9, and in the latter year made her début at the Opéra Comique, with little effect, in 'Val d'Andorre' and 'Les Mousquetaires de la Reine.' She was next engaged at Brussels for three years, and obtained a great success. After performances at Lyons and Strassburg she was engaged at the Lyrique, Paris, for three years, and made her first appearance Oct. 6, '53, as Toinon, on production of 'Le Bijou Perdu ' (Adam). She also appeared in new operas, viz. 'La Promise' (Clapisson), Mar. 16, '54, and 'Jaguarita l'Indienne' (Halévy), May 14, '55. In 1854 she came to England with the Lyrique company. She first appeared on June 7 in 'Le Bijou' and made a great success in the 'Promise,' 'Fille du Régiment,' and 'Sirène,' in spite of the inferior support given by the above company. On Feb. 23, '56, she reappeared at the Opéra Comique on the production of 'Manon Lescaut' (Auber), and remained there until 1861, her best new parts being Catherine,^[1] on the revival of 'L'Étoile du Nord'; and April 4, '59, as Dinorah on the production of 'Le Pardon de Ploërmel.' In 1860 she played the Figlia, etc., as described in vol. i., renewed her successes in revivals of 'Le Bijou,' 'Jaguarita,' and appeared as Féline on the production of 'La Chatte merveilleuse' (Grisar), March 18, '62. In 1861 she was again at the Lyrique, and on March 21, '63, played in 'Così fan Tutte,' with a new libretto adapted to 'Love's Labour's Lost.' From 1865–70 she was again at the Opéra Comique, and among her new parts were Philine in 'Mignon,' Nov. 17, '66, and 'Hélène, Le Premier Jour de Bonheur,' Feb. 15, '68. In '71 she sang at the New Philharmonic and other concerts, and in '72 sang in French opera at the Opéra Comique, London, in the 'Fille du Régiment,' 'L'Ambassadrice,' and 'Galathée,' and was well received, though the company was bad, and the theatre much too small for important opera. She played in the French provinces until 1877, but in '78 was struck with paralysis, from which she never wholly recovered. She died at Maisons Laffitte, May 23, '85.

A brother-in-law (or son) of hers, Edouard, was a singer at the Opéra Comique and the Lyrique, and sang the song of Hylas in 'Les Troyens a Carthage.' See Berlioz' Memoirs. His song was well received, but it was nevertheless cut out, in order that Carvalho should not have to pay him extra salary.

[ A. C. ]

1. Mme. Vandenheuvel, then Caroline Duprez, daughter of the tenor, was the heroine on its production, not Mme. Catel, as stated in vol. i.