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Updated: May 24, 2025
Madame Jeannin used often to speak of her grandfather, who adored the violoncello, and used to sing airs of Gluck, and Dalayrac, and Berton. There was a large volume of them in the house, and a pile of Italian songs. For the old gentleman was like M. Andrieux, of whom Berlioz said: "He loved Gluck." And he added bitterly: "He also loved Piccinni." Perhaps of the two he preferred Piccinni.
One of the most curious, ingenious and incomprehensible inventions of any I have seen is that of M. Paris, coiffeur to the Princes and Princesses, 25, Passage Choiseul, and 22, Rue Dalayrac, near the new Italian Theatre, relating to all descriptions of false hair, which he contrives to arrange in such a manner that the skin of the head is seen through where the hair is parted, and the roots represented as springing from the head in so natural a manner, that the deception cannot be discerned even on the closest inspection; the extreme delicacy of the work in these fronts and toupies is really inimitable, a person may put one on the back of their hand, and the division appears so transparent that the skin is seen under it as clear as if not a single hair crossed it, and yet by some invisible means the parts are held together, which can only be by light transparent hairs which are not discernible to the naked eye.
French operas by Rousseau, Monsigny, Dalayrac, and Gretry, which may be said to have composed the staple of the opera-houses of Europe in the last decades of the eighteenth century, were known also in the contemporaneous theatres of Charleston, Baltimore, Philadelphia, and New York.
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