A Dictionary of Music and Musicians/Lucca, Pauline

LUCCA, Pauline, one of the most brilliant operatic artists of a brilliant epoch, is a native of Vienna. [App. p.706 "add date of birth, April 26, 1841, and that her parents were Italian."] Her high musical gifts showed themselves early, when, a mere child, she sang in the choir of the Karlskirche, in 1856. One Sunday the principal singer was missing, and the young chorister put forward to supply her place in the solo of a mass of Mozart's, revealed a beauty of voice and charm of style that startled all present. She studied under Uschmann and Lewy, and her parents being in straitened circumstances, entered the chorus of the Opera at Vienna, which she quitted in 1859 to come out at Olmütz. Just before leaving, it fell to her to lead the Bridesmaids' Chorus in the Freischütz, her performance creating a sensation that made Vienna eager to retain her; but it was too late. On 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in Berlin, then vainly seeking an artist to whom he could entrust the unconventional rôle of Selika in his yet unpublished 'Africaine.'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."]

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