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Updated: June 23, 2025
A star of the first magnitude was quenched when the passion of love subdued her professional ambition. Sophie Cruvelli, though her artistic life was far briefer than those of other great singers, has been deemed worthy of a place among these sketches, as an example of what may be called the supreme endowment of nature in the gifts of dramatic song. Born at Hamburg of an Hungarian Family.
Sophie Cruvelli continued on the stage till 1855, and, although her faults of violence and exaggeration continued to call out severe criticism, she disarmed even the attacks of her enemies by the unquestionable vigor of her genius as well as by the magnificence of a voice which had never been surpassed in native excellence, though many had been far greater in the art of vocalization.
She was a graceful and charming contralto; but her timidity and an over-delicacy of expression did not permit her then to display her talents to the greatest advantage. The brother of the sisters Cruvelli was a fine barytone. At the close of 1851 Sophie went again to the Théâtre Italien, and the following year she again returned to London to sing with Lablache and Gardoni.
The verdict was that Cruvelli was one of the greatest of Valentines, and Meyerbeer, who was morbidly sensitive over the performance of his own works, expressed his admiration of the great singer in the most enthusiastic words.
"Cruvelli is the Rachel of the Grand Opéra!" exclaimed a French critic. From these estimates it may be supposed that, just as she was on the eve of passing out of the profession in which she had already achieved such a splendid place at the age of twenty-five, a great future, to which hardly any limits could be set, was opening the most fascinating inducements to her.
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