A Dictionary of Music and Musicians/Chollet, Jean
CHOLLET, Jean Baptiste Marie, born May 20, 1798, at Paris, was from 1804 to 1816 taught singing and the violin at the Conservatoire, and in 1814 gained a solfeggio prize. In 1815, the Conservatoire having been closed owing to political events, he became chorus singer at the Opera and the Italian and Feydeau Theatres. In 1818–25 he played in the provinces, under the name Dôme-Chollet, the quasi-baritone parts played formerly by Martin and others. In 1825 he played both at Brussels and the Opéra Comique, Paris, and obtained in 1826 an engagement at the latter, where, having adopted the tenor répertoire, he remained until 1832. His principal new parts were in operas of Harold and Auber, viz. Henri ('Marie'), Aug. 12, 1826, in which he made his first success by his rendering of the song 'Une robe legère'; Fritz, in 'La Fiancée,' Jan. 10, 1829; 'Fra Diavolo,' Jan. 28, 1830, and 'Zampa,' May 3, 1831. In 1832–35 he was again in Brussels, where hereafter he enjoyed even greater favour than he obtained in Paris. In 1834 he sang at the Hague, and in 1835 returned to the Opéra Comique, where he remained several years, and created several other parts in operas of Adam, Halévy, and Balfe, viz. Lionel in 'L'Éclair' (Halévy), Dec. 30, '35; Chapelon in 'Postilion de Lonjumeau,' Oct. 13, '36; Josselyn in 'Roi d'Yvetot,' Oct. 13, '42; Edward III. in 'Puits d'Amour,' Apr. 20, '43; 'Cagliostro,' Feb. 10, '44; Beaumanoir in 'Quatre fils d'Aymon' July 15, '44. He left the Comique, directed the Hague Theatre for a time, and finally re-appeared in Paris at the Lyrique without success. In '50 he played with Mitchell's company at St. James's Theatre, viz. as Lejoyeux ('Val d'Andorre'), in which he made his début, Jan. 4, as Barnabé (Paer's 'Maïtre de Chapelle'), and in his well-known parts of Zampa, Josselyn and the Postilion. He was well received, on account of his easy, gentlemanly, and vivacious acting, and his command both of humour and pathos, which atoned for loss of voice. Fétis says of him that 'endowed with qualities that should have taken him to the highest point of art, if he had received a better musical education, he had more ingenuity than real ability, more mannerism than style. Sometimes he jerked out his song with affectation; he often altered the character of the music by introducing variations of the phrase and numerous cadenzas in which he made use of his head voice. Vocal studies had not been studied, inasmuch that his 'mezza voce' was defective, and that he executed ascending chromatic passages in an imperfect manner. In spite of these faults, the charm of his voice, his knowledge of what would please the public, and his aplomb as a musician often caused him to make more effect than skilful singers deprived of these advantages. His farewell benefit took place at the Opéra Comique, April 24, 1872, when Roger reappeared in a scene from 'La Dame Blanche,' and Chollet himself as Barnabé in the celebrated duo from Paer's 'Maïtre de Chapelle.' On this occasion Paladilhe's musical setting of Coppée's 'Le Passant' was first produced, with Mme. Galli-Marié and the late Mlle. Priola.
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