Philtre'; and Robert in 'Robert le Diable.' 1832, Edmond in 'Le Serment.' 1833, 'Gustave III'; and Nadir in Cherubini's 'Ali Baba.' 1834, Don Juan in a new translation of Mozart's opera. 1835, Eléazar in 'La Juive.' 1836, Raoul in 'Les Huguenots'; and Phoebus in 'La Esmeralda' by Louise Bertin. 1837, 'Stradella' in Niedermeyer's opera.
The writer of this article was a personal friend of Nourrit's, and heard him in nearly all the roles which he created, and to which he imparted a distinct stamp of his own. Though rather stout, and short in the neck, he had a fine presence, and could be refined and pleasing in comedy, or pathetic and commanding in tragedy at will. He used his falsetto with great skill, and was energetic without exhausting his powers. He was idolised by the public, and his influence both with them and with his brother artists was great. He was consulted by managers and authors alike; he wrote the words for Eléazar's fine air in 'La Juive,' and suggested the abrupt and pathetic close of the duet in the 'Huguenots.' His poetic imagination is shown by the libretti for the ballets of 'La Sylphide,' 'La Tempête,' 'L'Ile des Pirates,' 'Le Diable boiteux,' etc., danced by Taglioni and Fanny Elssler—all which were written by him. Besides securing large receipts for the Opéra, he popularised Schubert's songs in France, made the fortune of various composers of romances, and was always ready to sing the 1st act of 'La Dame Blanche' with Mme. Damoreau for any charitable purpose. In conversation he was witty and refined. Duprez's engagement at the opera was a severe mortification for so earnest and so popular an artist, and rather than divide honours to which he felt he had an exclusive right, or provoke comparisons which would in all probability have been made in his favour, he resolved to retire. On his last appearance at the Académie (April 1, 1837) he received the most enthusiastic and flattering ovation ever perhaps accorded to a French artist, but nothing would induce him to remain in Paris. He obtained leave of absence from the Conservatoire, where he had been professeur de déclamation lyrique for the last ten years, started for Brussels, and thence proceeded to Marseilles, Lyons, and Toulouse. His idea was to produce during his tournée scenas or acts composed expressly for him, and Ambroise Thomas furnished him with a dramatic cantata called 'Silvio Pellico' (words by Legouvé), which he carried off with expressions of delight at having found something which would display his powers in a new light. Of this piece, however, nothing has ever been heard since. While at Marseilles and Toulouse Nourrit's customary excitement increased to an alarming degree, and was aggravated after his return to Paris, by a series of newspaper articles praising Duprez at his expense. These drove him away a second time. He started for Italy in a state of deep depression, but was temporarily restored by Rossini's kindness and by the cordiality of his reception in most of the great towns. Unfortunately 'Polyeucte,' which Donizetti had composed for him, was interdicted in Naples, and he made his first appearance at San Carlo in Mercadante's 'Il Giuramento.' He was well received both in this and in 'Norma,' but could not be persuaded of the fact. After singing at a benefit concert in a state of great mental fatigue, he had a sudden access of delirium in the night, and throwing himself out of window was killed on the spot, March 8, 1839. His remains were brought to Paris, and interred amid a crowd of sorrowing friends. He was much valued by Mendelssohn, who made his acquaintance in 1831, and who notices his death in terms of great sorrow. (Hiller's Mendelssohn, p. 137.)
There is a fine marble medallion of Nourrit by Pradier; and he was often painted in scenes from 'La Muette,' 'Robert,' 'La Juive,' and 'Les Huguenots.' The portrait by F. R. Spencer is very like. M. L. Quicherat, one of his sons-in-law, published 'Adolphe Nourrit; sa Vie,' etc. (Paris, 1867, 3 vols.) containing ample details.
His brother Auguste (born Paris 1808, died at l'Isle d'Adam July 11, 1853), was also a distinguished tenor singer, and for some time directed the chief theatres at the Hague, Amsterdam, and Brussels. He visited the United States, and after his return devoted himself to teaching singing.
[ G. C. ]
NOVELLETTEN. The title of a series of eight pieces for pianoforte solo by Schumann (op. 21), written in 1838, and dedicated to Adolph Henselt. There is also another Novellette of great beauty not included in this series, but written in the same year, which Schumann afterwards inserted in his 'Bunte Blätter,' 14 short pieces, op. 99. The name, like so many others of Schumann's, suggests the influence of Jean Paul's writings. 'He had found at last (says Mr. Niecks[1]) the proper form for his confidential communications,—for the Kreisleriana and Novelletten are a kind of confessions. These pieces read like a romance, to the interest and beauty of which they add the truthfulness of reality.… They are characterised by Schumann as 'larger connected romantic stories.' 'Here we have no painful forcing, no oozing out of thoughts, but a full stream, a rich outwelling, such as is rare even with this master.… They differ from the Kreisleriana in the preponderance of the humorous element, and are of a more hopeful and cheery tone.'
[ J. A. F. M. ]
NOVELLO, Vincent, son of an Italian father and English mother, was born at 240, Oxford Street, Sept. 6, 1781. He was a chorister at the Sardinian Chapel, Duke Street, Lincoln's-Inn-Fields, under Samuel Webbe, the organist, and after the breaking of his voice officiated as deputy for Webbe, and also for Danby, organist of the Spanish Chapel, Manchester Square. At 16 years of age he became organist of the Portuguese Chapel in South Street, Grosvenor Square, which office he held until 1822. In 1812 he was pianist to the Italian Opera Company at the Pantheon. He was one of the original members
- ↑ Monthly Musical Record for August 1876.
