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Updated: June 9, 2025
She was the living incarnation of one of the most beautiful types of ancient Greece. Her pretty hands were long and rather soft, whilst her slow and rather heavy walk completed the illusion. She was the great tragedienne of the Odeon Theatre. She approached me, with her measured tread, followed by a young man of from twenty-four to twenty-six years of age.
Here she enjoyed the advantage of studying the great lyric tragedienne, with whom she occasionally performed: not a look, a tone, a gesture of her great model escaped her. She was given the part of Jane Seymour in Donizetti's "Anna Bolena," which she looked and acted to perfection, Pasta personating the unfortunate Queen.
Schröder-Devrient, who, as an operatic tragedienne, stands foremost in the annals of the German musical stage, though others have surpassed her in merely vocal resources, and who never has been rivaled except by Pasta. She was the daughter of Sophia Schröder, the Siddons of Germany. This distinguished actress for a long time reigned supreme in her art.
She acted the rôle with a vehement passion which aroused the deepest feeling in the Parisian mind, for it was a long time since they had heard an artist who was alike so great an actress and so brilliant a vocalist. One writer said, "She is the only cantatrice who acts as well as sings"; said one critic, "She would have made a grand tragedienne."
Clairon, the great French tragedienne, whom he met in Paris, and whom he persuaded to come and make her home with him in Ansbach. She lived there seventeen years, and though always an alien, she bore herself with kindness to all classes, and is still remembered there by the roll of butter which calls itself a Klarungswecke in its imperfect French.
"It was only a piece of acting, René. You might as well say that a tragedienne would be capable of carrying out a tragedy in her own family." "Perhaps so, Clement, but then you see it would never occur to me to marry a tragedienne. I should imagine that she would ask for the salt in the same tone that she would demand poison.
On the evening in question, a very large audience greeted the tragedienne, and she was received, with much enthusiasm. She appeared in a tragedy of Racine, in which she had once been preëminently distinguished.
Without going quite so far, the actor showed himself none the less exacting. According to his ideas, Deborah, the tragedienne at the Odeon a Greek statue! had too large hands, and the fascinating Blanche Pompon at the Varietes was a mere wax doll.
In private life this great artist has always been loved and admired for her brilliant mental accomplishments, her amiability, the suavity of her manners, and her high principles, no less than she has been idolized by the public for the splendor of her powers as musician and tragedienne. The Tenor Singer Tacchinardi. An Exquisite Voice and Deformed Physique.
I thought of my rehearsing with Madame Devoyod, the leading tragedienne of the Comedie Francaise, with Maubant, with I trembled as I thought of all this, for Madame Devoyod was said to be anything but indulgent. I arrived for the rehearsal an hour before the time. The stage manager, Davenne, smiled and asked me whether I knew my role. "Oh yes," I exclaimed with conviction. "Come and rehearse it.
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