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Updated: June 23, 2025
Lamperti devoted himself assiduously to preparing the young German singer for her début, and at the end of 1847 she was enabled to appear at La Fenice, under the Italianized name of Cruvelli, in the part of Dona Sol in "Ernani." This was followed by a performance of Norma, and in both she made a strong impression of great powers, which only needed experience to shine with brilliant luster.
Soon after this, she appeared as Julia in Spontini's "Vestale," and, as a long time had elapsed since its production, there was aroused the most alert curiosity to hear Cruvelli in a great part, in which but few singers had been able to make a distinguished impression.
The faults which had marred the full blaze of her genius had begun to be mellowed and softened by experience, and there was scarcely any pitch of artistic greatness to which she might not aspire. Rumors of her approaching marriage had already begun to circulate, and it soon became known that Sophie Cruvelli was about to quit the stage.
These may be considered minor points, but, as necessary parts of a great conception, they are as important, and afford as much evidence of the master mind, as the artist's delivery of the grandest speeches or scenes." "Mlle. Cruvelli," observes another critic, "has the power of expressing joy and despair, hope and anxiety, hatred and love, fear and resolution, with equal facility.
Fickle Paris had forgotten Pasta, Malibran, and even Mme. Viardot, who was then in the very flush of her splendid powers. From Paris Mlle. Cruvelli went to London, where she sang an engagement at the Royal Italian Opera, making her opening appearance as Desdemona, in the same cast with Tamburini and Ronconi. Her terms during the season were two hundred and fifty pounds a night. Mlle.
During this season she performed in "La Sonnambula," "Il Barbiere," and other operas of the florid Italian school, charming the public by her lyric comedy, as she had inspired them by her tragic impersonations. Cruvelli had always been remarkable for impulsive and eccentric ways, and no engagement ever operated as a check on these caprices.
She has voice and execution sufficient to master with ease all the trying difficulties of the most trying and difficult of parts." Norma was Sophie's second performance. "Before the first act was over, Sophie Cruvelli demonstrated that she was as profound a mistress of the grand as of the romantic school of acting, as perfect an interpreter of the brilliant as of the classical school of music."
There was a good deal of talk about L'Africanne, which had been looked for for a long time and which seemed to be almost legendary and mysterious; it still is for that matter. The subject of the opera was unknown. All that was known was that the author was trying to find an interpreter and could get none to his liking. Then Marie Cruvelli, a German singer with an Italian training, appeared.
Cruvelli creating a very great sensation at Milan at La Scala. Genoa was no less enthusiastic in its welcome of the young singer, who had left Italy only two years before, and returned a great artist. No stall could be obtained without an order at least a week in advance. In April, 1850, she made her first Parisian appearance at the Théâtre Italien in Paris, under Mr.
Her improvement since her first London engagement had been marvelous. Though scarcely twenty, Mlle. Cruvelli had become a great actress, and her physical beauty had flowered into striking loveliness, though of a lofty and antique type. Her sculpturesque face and figure, her great dramatic passion, and the brilliancy of her voice produced a profound sensation in London.
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