Giovanni'), Martha and Rosina. She sang that autumn at the Birmingham Festival, in opera at Liverpool, Manchester, etc., and afterwards was engaged at Berlin, Brussels, and Paris. From 1861 to the present time Mme. Patti has sung at Covent Garden every year, and has maintained her position as perhaps the most popular operatic artist of the time. Mme. Patti made an operatic tour in the provinces in 1862; sang at the Birmingham Festival of 1864, notably as Adah on the production of 'Naaman'; at the Handel Festivals of 1865, 1877, and 1880; at the Liverpool Festival of 1874, as well as in several brilliant provincial concert tours. She has enjoyed the same popularity on the continent, having fulfilled several engagements at Paris,[1] Vienna, St. Petersburg, Moscow, etc., and in various cities of Germany, Italy, Spain, etc.
Her voice is of moderate power but great compass, reaching to F in alt; her execution is brilliant and finished, and she has considerable charm both of person and manner. Her répertoire is extensive, upwards of 30 characters, chiefly of the Italian school, many of which, such as Maria, Norina, Adina, Linda, Luisa Miller, Desdemona, Ninetta, Semiramide, etc., were revived for her; she is also quite at home in the works of Meyerbeer and Gounod. The new parts which she has created in England are Annetta ('Crispino e la Comare'), July 14, 1866; Esmeralda, June 14, 1870; Gelmina, June 4, 1872; Juliet, July 11, 1867; La Catarina ('Diamans de la Couronne'), July 3, 1872;[2] Aida, June 22, 1876; and Estella ('Les Bluets') of Jules Cohen (Covent Garden, under the title of 'Estella,' July 3, 1880), perhaps with a little more success than when Mme. Nilsson played the part in Paris. Of the other parts, only as Juliet and Aida has she obtained any permanent popularity. The Zerlina of Mozart is the only character she has played in classical opera. Mme. Patti married, July 29, 1868, Henri Marquis de Caux, Equerry to Napoleon III. [App. p.745 "In 1885 Mme. Patti was divorced from the Marquis de Caux, and in 1886 married M. Nicolini. [See above, p. 731b.]"] Her elder sister,
Carlotta, was born in 1840 at Florence. She was educated as a pianist under Herz, but abandoned the piano in favour of singing. She made her début in 1861 at New York as a concert singer, and afterwards fulfilled an engagement there in Italian opera, and was successful, but soon after abandoned the stage on account of her lameness. She made her début in England April 16, 1863, at a concert at Covent Garden Theatre, attracted attention on account of her pleasant and remarkable facility of execution, obtained a position here in concerts as a singer of the lighter class, and was for several seasons a great attraction at promenade and other concerts. Mlle. Patti has made several concert tours in the provinces, on the continent, and in America. She married, Sept. 3, 1879, Ernst de Munck, of Weimar, the violoncellist.
Carlo, their brother, born at Madrid in 1842, was taken to America, like his sisters, when a child, studied the violin, and at the of 20 became leader at the New Orleans Opera House, afterwards at New York, and the Wakefield Opera House, St. Louis, Missouri. He died at the last-named city March 17, 1873.
PAUER, Ernst, pianist and eminent teacher of the piano, was born at Vienna, Dec. 21, 1826. His father was first minister of the Lutheran church, Director of the theological seminary in Vienna, and Superintendent-General of the Lutheran churches of the Austrian Empire; his mother was a Streicher, of the great pianoforte-making family, so intimately connected with Beethoven. The cultivation of his early musical talent was not allowed to prejudice his general education; the study of the classics and modern languages being carried on concurrently with the pianoforte, first under Theodor Dirzka, and then under Mozart's son, Wolfgang Amadeus, and with harmony and counterpoint under Sechter. This first stage in his musical education was terminated by a public performance in 1842, and the publication of one of his compositions. In 1845 he went to Munich for a year and a half to study instrumentation and dramatic composition under Franz Lachner. Not content with his musical studies he learnt Italian and Spanish, and by teaching and composing was enabled to become independent of his father, thus early evincing that extraordinary energy which has always been one of his principal characteristics. In April 1847 he competed for and obtained the appointment of director of the musical societies at Mayence, and was employed by the great publishing firm of Schotts to compose two operas, 'Don Riego' (1849), and 'Die rothe Maske' (1850), which were performed in Mayence and Mannheim; also some important vocal works, and overtures and entractes for the use of the local theatre. This appointment, in which he gained great experience, he resigned in April 1851, and preceded to London, where his performances at the Philharmonic (June 23, Hummel's A minor Concerto) and the Musical Union were received with much favour. After this success he resolved to pursue his career in England, though returning for a time to Germany.
In 1852 he married Miss Andreae, of Frankfort, and brought her with him to London, where they have since regularly resided during the musical season. Mrs. Pauer is a good contralto singer, and an excellent musician. During the first few years of her married life she was not infrequently heard in public, but this she has latterly given up. She has not however forsaken music, and the Bach Choir has profited much by her great knowledge and her steady devotion to its rehearsals and performances.
In 1861 Mr. Pauer adopted a new direction in pianoforte-playing, one which had been sketched by Moscheles some twenty years before, but not fully carried out—the historical; and gave a series of six performances with the view of illustrating the foundation and development of pianoforte composition and playing, in chronological series
