A Dictionary of Music and Musicians/Nantier-Didiée, Constance

NANTIER-DIDIÉE, Constance Betsy Rosabella, was born at St. Denis in the Isle of Bourbon (now He de la Réunion) Nov. 16, 1831. Mdlle. Nantier, who derived her second name from her marriage with a singer named Didiée, received instruction in singing at the Paris Conservatoire under Duprez, from 1847 to 1849, and obtained an accessit in the latter year in his class, and the first prize in the Opera class. She made her début on the stage at the Carignan Theatre, Turin, in Mercadante's 'La Vestale.' She played in Paris at the Salle Ventadour in 1851, and afterwards joined an Italian company, of which Giuglini was one, and who played at Lyons, Nimes, Montpelier, etc.

Madame Nantier-Didiée made her first appearance in England at Covent Garden in 1853 as the Chevalier de Goudi, in 'Maria di Rohan,' afterwards as Maddalena, in 'Rigoletto' on its production here, and as Ascanio in 'Benvenuto Cellini'; and in all three parts was successful. From 1853 to 1864 inclusive she sang here every year in Italian opera, at Covent Garden and the Lyceum, the usual mezzo soprano or contralto parts, creating amongst others Nancy in 'Marta,' Rita on the revival of 'Zampa,' L'Amore 'Orfeo', Ulrica in Verdi's 'Ballo,' and Siebel in 'Faust.' In this last opera Gounod wrote the popular air 'Quando a te lieta' expressly for her. During this time Madame Nantier-Didiée sang at Court and public concerts, made an operatic provincial tour in 1855, later in that year and the early part of 1856 played in opera in America, and took part at the Bradford Festival of 1859. The rest of each year she was engaged at the Italian Opera of Paris, St. Petersburg, Moscow, Madrid, etc., or sang at concerts in the French provinces. She died at Madrid, Dec. 4, 1867. Apropos to Maddalena, Mr. Chorley remarks, 'Her gay handsome face, her winning mezzosoprano voice, not without a Cremona tone in it, redeeming the voice from lusciousness, and her neat lively execution, were all displayed in this part, short as it is. For such occupation as falls to the share of a first-rate singer of the second class, this lady has never been exceeded. Subsequently when … she tried to win first honours as a contralto, the natural limits of her powers made themselves felt, and she lost rather than gained in public favour.'

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