A Dictionary of Music and Musicians/Lays, François

by George Grove

LAYS, François, a famous French singer, whose real name was Lay, born Feb. 14, 1758, at La Barthe de Nestés in Gascony. He learned music in the monastery of Guaraison, but before he was 20 his fame as a singer had spread, and in April 1779 he found himself at Paris to be tried for the Grand Opera. His name first appears in Lajarte's catalogue of first representations, as Petrarque, in a 'pastoral héröique' by Candeille, called 'Laure et Pétrarque,' July 2, 1780, and is spelt Laïs. His next ^[1]mention is in the 'Iphigénie en Tauride' of Piccinni, Jan. 23, 1781, where he has the rôle of a coryphée. After that he appears frequently in company with Madlle. Saint-Huberti, a famous soprano of that day. He was also attached to the concerts of Marie Antoinette, and to the Concert Spirituel. He was a poor actor, unless in parts specially written for him; but the splendour of his voice made up for everything, and he preserved it so well as to remain in the company of the Grand Opera till October 1822. Lays was a violent politician on the popular side, which did not please his colleagues, and some quarrels arose in consequence, but with no further result than to cause him to write a pamphlet, and to force him, after the 9th Thermidor, to appear in parts distasteful to him, and to sing before the Bourbons after the Restoration. He was professor of singing at the Conservatoire from 1795 to 1799, when he retired from the post; and from 1819 to 1826 held the same office in the 'École royale de chant et de déclamation.' He had been principal singer in the chapel of Napoleon from 1801 till the fall of the Emperor, but was cashiered by Louis XVIII. After leaving the École he retired to Ingrande near Angers, where he died March 30, 1831. We have said that he was not a good actor, but Fétis pronounces him not even a good singer, saying that his taste was poor, and that he had several bad tricks; but he had warmth and animation, and the beauty of his voice so far atoned for all, that for a long time no opera could be successful in which he had not a part.

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1. The rôle of the 'Seigneur bienfalsant' is said by Fétis to have been written for him, but his name does not appear In th company at the first performance of that piece.