useful singer in many parts of a different character, viz. Margaret of Valois, on the production in Italian of 'Les Huguenots,' July 20, '48, Juliet, Bertha, Isabella, Elvira ('Masaniello'), Agatha ('Der Freischütz'), Anais ('Mosè in Egitto'), Matilde ('Guillaume Tell'), Ninetta, Rosina, Abigail ('Nabuco'), Pamina, Glicera on production in England of Gounod's 'Saffo' (Aug. 12, '51), Cunegunda on production of Spohr's 'Faust,' July 15, '52 (the composer interpolated an air for her from his opera 'Der Zweikampf'), Pamina, and Leonora ('Fidelio'). Madame Castellan sang frequently at the Philharmonic and other concerts, and at the festivals at Norwich, Gloucester, Worcester, and at Birmingham four times, from '49 to '58, where in '55 she originally sang the soprano music in Costa's 'Eli,' and in '58 the same in Leslie's 'Judith.' Madame Castellan also played in Paris in Italian in 1847, and for the last time in 1859, as well as in Italy and elsewhere. She has long since retired from public life.
'Madame Castellan … enjoyed during some years a settled occupation of trust and variety on our two Italian Opera stages. So far as industry and general utility, a pleasing person, and a competent voice entitled their owner to public favour, the new French prima donna was eminently qualified. But she fell short of complete excellence in every point save that of adaptability. Her voice, an extensive soprano, having both upper and lower notes sufficient in power, was never thoroughly in tune … Madame Castellan, though she was always courteously received, never excited the slightest enthusiasm … Her amenity of manner, however, and the sedulous care she always showed to keep faith with the public, maintained her long in London; and since she has passed from the stage, she has never been replaced by any one equivalent to her.' (Chorley, 1862).
CATALANI, Alfredo, born at Lucca, June 19, 1854, studied at first with his father, the organist of the church of S. Frediano in that city. At the age of fourteen he wrote a mass which was sung in the cathedral. At seventeen he went to the Paris Conservatoire, where he studied in Bazin's class. Returning to Italy, he studied for two years at the Milan Conservatorio, at the theatre of which his first essay at dramatic composition, an 'Egloga' in one act, 'La Falce,' was produced in the summer of 1875. On Jan. 31, 1880, his grand four-act opera, 'Elda' (words by D'Ormeville), was brought out at Turin; on March 17, 1883, a similar work, 'Dejanice,' in four acts (libretto by Zanardini), was given at the Scala at Milan; in 1885 a symphonic poem for orchestra, 'Ero e Leandro,' attained considerable success; and 'Edmea,' a three-act opera (libretto by Ghislanzoni), was produced at the Scala, Feb. 27, 1886. He has lately completed a new opera, 'Loreley.' He stands in the foremost rank of the younger Italian composers.
CATELANI, Angelo. Add that he died at S. Martino di Muguano, Sept. 5, 1866.
CAVAILLÉ-COL. Add date of death, Jan. 1886.
CAVALLI. Line 16 of article, for 1637 read 1639. Line 21, for 'Xerse' read 'Serse,' and add day of production, Nov. 12. Line 23, for in read Feb. 7. As to Cavalli's claim to be regarded as the inventor of the Da Capo, see Air, vol. i. 47 a, and Opera, ii. 502, 503.
CAVALLINI, Ernesto, a great clarinet player, born at Milan Aug. 30, 1807. He was taught in the Milan Conservatorio, and after an engagement at Venice and considerable travelling he returned to his native city, first as player in the Scala orchestra and then as professor in the Conservatorio. In 1852 he accepted a post at St. Petersburg, which he filled for fifteen years, after which he returned to Milan in 1870, and died there Jan. 7, 1873. In 1842 he was elected member of the Paris Académie des Beaux Arts. Cavallini travelled much and was well known in Paris, London and Brussels. He played a concerto of his own at the Philharmonic Concert, June 23, 1845. Fétis describes his volubility and technique as prodigious, and his breath as inexhaustible; his intonation was also very good, though his instrument was only the old six-keyed clarinet. To this Mr. Lazarus adds that his music is very difficult, his studies and duets excellent; and although his tone was not of the purest, he might well be called the Paganini of the clarinet for his wonderful execution. Lists of his works are given by Fétis, and by Pougin in the Supplement thereto.
CAVATINA. Add that the derivation of the word is not clear. Cavata is defined as the act of producing tone from a musical instrument. The strict definition of Cavatina will be found under Opera, ii. 511 a.
CEBELL, a name used by Purcell and others for the dance form now generally known by the name of Gavotte. An instance occurs in a suite of Purcell's printed in Pauer's 'Old English Composers,' and 'The Old Cebell' is given by Hawkins, History, App. 22.
CECILIA. P. 329 b, l. 10, for 1739 read 1740.
CELLIER, Alfred, born Dec. 1, 1844, at Hackney, of French extraction, was educated there at the Grammar School, and from 1855 to 1860 was a chorister at the Chapel Royal, St. James's, under the Rev. Thomas Helmore. In 1862 he was appointed organist to the church of All Saints, Blackheath. At the age of twenty-one he became Director of the Ulster Hall Concerts, Belfast, succeeding Dr. Chipp, and conductor of the Belfast Philharmonic Society. He was appointed organist to St. Alban's Holborn in 1868. Mr. Cellier has also been conductor at the Prince's Theatre, Manchester (1871–5); Opera Comique, London (1877–9), and joint conductor, with Sir A. Sullivan, of the Promenade Concerts, Covent Garden (1878 and 9), besides holding numerous smaller appointments at the Court, St. James's, and
