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<span class="vector-toc-numb">7</span> <span>Reputation</span> </div> </a> <ul id="toc-Reputation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">9</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" 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mw-first-heading"><span class="mw-page-title-main">Cornélie Falcon</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 13 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-13" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">13 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D9%83%D9%88%D8%B1%D9%86%D9%8A%D9%84%D9%8A_%D9%81%D8%A7%D9%84%D9%83%D9%88%D9%86" title="كورنيلي فالكون – Arabic" lang="ar" hreflang="ar" data-title="كورنيلي فالكون" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Marie_Corn%C3%A9lie_Falcon" title="Marie Cornélie Falcon – Catalan" lang="ca" hreflang="ca" data-title="Marie Cornélie Falcon" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Corn%C3%A9lie_Falcon" title="Cornélie Falcon – Czech" lang="cs" hreflang="cs" data-title="Cornélie Falcon" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Corn%C3%A9lie_Falcon" title="Cornélie Falcon – German" lang="de" hreflang="de" data-title="Cornélie Falcon" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Marie_Corn%C3%A9lie_Falcon" title="Marie Cornélie Falcon – Spanish" lang="es" hreflang="es" data-title="Marie Cornélie Falcon" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Corn%C3%A9lie_Falcon" title="Cornélie Falcon – French" lang="fr" hreflang="fr" data-title="Cornélie Falcon" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Corn%C3%A9lie_Falcon" title="Cornélie Falcon – Indonesian" lang="id" hreflang="id" data-title="Cornélie Falcon" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target"><span>Bahasa Indonesia</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Marie-Corn%C3%A9lie_Falcon" title="Marie-Cornélie Falcon – Italian" lang="it" hreflang="it" data-title="Marie-Cornélie Falcon" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D9%83%D9%88%D8%B1%D9%86%D9%8A%D9%84%D9%89_%D9%81%D8%A7%D9%84%D9%83%D9%88%D9%86" title="كورنيلى فالكون – Egyptian Arabic" lang="arz" hreflang="arz" data-title="كورنيلى فالكون" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target"><span>مصرى</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a 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Мария Корнелия" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-ur mw-list-item"><a href="https://ur.wikipedia.org/wiki/%DA%A9%D8%A7%D8%B1%D9%86%DB%8C%D9%84%DB%8C_%D9%81%D8%A7%D9%84%DA%A9%D9%86" title="کارنیلی فالکن – Urdu" lang="ur" hreflang="ur" data-title="کارنیلی فالکن" data-language-autonym="اردو" data-language-local-name="Urdu" class="interlanguage-link-target"><span>اردو</span></a></li> </ul> <div class="after-portlet after-portlet-lang"><span class="wb-langlinks-edit wb-langlinks-link"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q2604408#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></span></div> </div> </div> </div> </header> <div class="vector-page-toolbar"> <div class="vector-page-toolbar-container"> <div id="left-navigation"> <nav aria-label="Namespaces"> <div id="p-associated-pages" 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class="mw-empty-elt"> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Corn%C3%A9lie_Falcon_-_Galerie_de_la_Presse_-_Gallica_v2.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3e/Corn%C3%A9lie_Falcon_-_Galerie_de_la_Presse_-_Gallica_v2.jpg/260px-Corn%C3%A9lie_Falcon_-_Galerie_de_la_Presse_-_Gallica_v2.jpg" decoding="async" width="260" height="309" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3e/Corn%C3%A9lie_Falcon_-_Galerie_de_la_Presse_-_Gallica_v2.jpg/390px-Corn%C3%A9lie_Falcon_-_Galerie_de_la_Presse_-_Gallica_v2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3e/Corn%C3%A9lie_Falcon_-_Galerie_de_la_Presse_-_Gallica_v2.jpg/520px-Corn%C3%A9lie_Falcon_-_Galerie_de_la_Presse_-_Gallica_v2.jpg 2x" data-file-width="1188" data-file-height="1411" /></a><figcaption>Cornélie Falcon in 1835</figcaption></figure> <p><b>Cornélie Falcon</b> (28 January 1814 <sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>n 1<span class="cite-bracket">]</span></a></sup> – 25 February 1897) was a French <a href="/wiki/Dramatic_soprano" title="Dramatic soprano">dramatic soprano</a> who sang at the <a href="/wiki/Paris_Opera" title="Paris Opera">Opéra</a> in Paris. Her greatest success was creating the role of Valentine in Meyerbeer's <i><a href="/wiki/Les_Huguenots" title="Les Huguenots">Les Huguenots</a></i>. She possessed "a full, resonant voice"<sup id="cite_ref-WW_5-0" class="reference"><a href="#cite_note-WW-5"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> with a distinctive dark timbre<sup id="cite_ref-GroveOnline_6-0" class="reference"><a href="#cite_note-GroveOnline-6"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> and was an exceptional actress.<sup id="cite_ref-WW_5-1" class="reference"><a href="#cite_note-WW-5"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Based on the roles written for her voice her vocal range spanned from low A-flat to high D, 2.5 octaves. She and the tenor <a href="/wiki/Adolphe_Nourrit" title="Adolphe Nourrit">Adolphe Nourrit</a> are credited with being primarily responsible for raising artistic standards at the Opéra,<sup id="cite_ref-WW_5-2" class="reference"><a href="#cite_note-WW-5"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> and the roles in which she excelled came to be known as "falcon soprano" parts.<sup id="cite_ref-NGO_7-0" class="reference"><a href="#cite_note-NGO-7"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> She had an exceptionally short career, essentially ending about five years after her debut, when at the age of 23 she lost her voice during a performance of Niedermeyer's <i><a href="/wiki/Stradella_(opera)" class="mw-redirect" title="Stradella (opera)">Stradella</a></i>. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Early_life_and_training">Early life and training</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Corn%C3%A9lie_Falcon&action=edit&section=1" title="Edit section: Early life and training"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>She was born Marie-Cornélie Falcon in Le Monastier sur Gazeille (Velay) to Pierre Falcon, a master-tailor and his wife Edmée-Cornélie. Falcon was one of three children; her sister Jenny Falcon was to marry a Russian nobleman and appear on the stage at the <a href="/wiki/Mikhailovsky_Theatre" title="Mikhailovsky Theatre">Mikhailovsky Theatre</a> in <a href="/wiki/St._Petersburg" class="mw-redirect" title="St. Petersburg">St. Petersburg</a>.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Cornélie was enrolled at the <a href="/wiki/Paris_Conservatory" class="mw-redirect" title="Paris Conservatory">Paris Conservatory</a> from 1827 to 1831.<sup id="cite_ref-Gourret_9-0" class="reference"><a href="#cite_note-Gourret-9"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> There she first studied with Felice Pellegrini and <a href="/wiki/Fran%C3%A7ois-Louis_Henry" title="François-Louis Henry">François-Louis Henry</a>, and later with <a href="/wiki/Marco_Bordogni" title="Marco Bordogni">Marco Bordogni</a> and Adolphe Nourrit.<sup id="cite_ref-WW_5-3" class="reference"><a href="#cite_note-WW-5"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> She won a second prize in <i><a href="/wiki/Solf%C3%A8ge" title="Solfège">solfège</a></i> in 1829, a first prize in vocalization (<i>vocalisation</i>) in 1830, and a first prize in singing (<i>chant</i>) in 1831.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Debut_in_Robert_le_diable">Debut in <i>Robert le diable</i></h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Corn%C3%A9lie_Falcon&action=edit&section=2" title="Edit section: Debut in Robert le diable"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>At the invitation of Nourrit she made her debut at the age of 18 at the Opéra as Alice in the 41st performance of <a href="/wiki/Giacomo_Meyerbeer" title="Giacomo Meyerbeer">Meyerbeer</a>'s <i><a href="/wiki/Robert_le_diable_(opera)" class="mw-redirect" title="Robert le diable (opera)">Robert le diable</a></i> (20 July 1832). The cast included Nourrit and <a href="/wiki/Julie_Dorus" class="mw-redirect" title="Julie Dorus">Julie Dorus</a> (who had premiered the role in 1830<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup>). The director of the Opéra, <a href="/wiki/Louis_V%C3%A9ron" class="mw-redirect" title="Louis Véron">Louis Véron</a>, had made certain there was plenty of advance publicity, and the auditorium was packed. The audience included the composers <a href="/wiki/Rossini" class="mw-redirect" title="Rossini">Rossini</a>, <a href="/wiki/Berlioz" class="mw-redirect" title="Berlioz">Berlioz</a>, <a href="/wiki/Luigi_Cherubini" title="Luigi Cherubini">Cherubini</a>, <a href="/wiki/Fromental_Hal%C3%A9vy" title="Fromental Halévy">Halévy</a>, and <a href="/wiki/Daniel_Auber" title="Daniel Auber">Auber</a>, the singers <a href="/wiki/Maria_Malibran" title="Maria Malibran">Maria Malibran</a>, <a href="/wiki/Caroline_Branchu" class="mw-redirect" title="Caroline Branchu">Caroline Branchu</a>, and <a href="/wiki/Giulia_Grisi" title="Giulia Grisi">Giulia Grisi</a>, and two of France's greatest actresses from the <a href="/wiki/Com%C3%A9die-Fran%C3%A7aise" title="Comédie-Française">Comédie-Française</a>, <a href="/wiki/Mademoiselle_Mars" title="Mademoiselle Mars">Mademoiselle Mars</a> and <a href="/wiki/Marguerite_Georges" title="Marguerite Georges">Mademoiselle Georges</a>. Other audience members included the painters <a href="/wiki/Honor%C3%A9_Daumier" title="Honoré Daumier">Honoré Daumier</a> and <a href="/wiki/Ary_Scheffer" title="Ary Scheffer">Ary Scheffer</a>, the librettist <a href="/wiki/Eug%C3%A8ne_Scribe" title="Eugène Scribe">Eugène Scribe</a>, and the critics and writers <a href="/wiki/Th%C3%A9ophile_Gautier" title="Théophile Gautier">Théophile Gautier</a>, <a href="/wiki/Alexandre_Dumas" title="Alexandre Dumas">Alexandre Dumas</a>, <a href="/wiki/Victor_Hugo" title="Victor Hugo">Victor Hugo</a>, and <a href="/wiki/Alfred_de_Musset" title="Alfred de Musset">Alfred de Musset</a>.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Although understandably suffering from stage fright, Falcon managed to sing her first aria without error, and finished her role with "ease and competence."<sup id="cite_ref-Pitou449_13-0" class="reference"><a href="#cite_note-Pitou449-13"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> Her tragic demeanor and dark looks were highly appropriate to the part,<sup id="cite_ref-Pitou449_13-1" class="reference"><a href="#cite_note-Pitou449-13"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> and she made a vivid impression on the public.<sup id="cite_ref-Fetis_14-0" class="reference"><a href="#cite_note-Fetis-14"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p><p>Meyerbeer himself came to Paris to see Falcon as Alice, but after her fifth performance on 24 August she had to withdraw due to illness, and he did not get to hear her until 17 September.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> The following day Meyerbeer wrote to his wife: "The house was as full as it ever could be, 8700 francs (without subscription) and many people could not find seats. The performance was ... so fresh ... like the first performance of the work, not a trace of being played out. About Falcon I dare not reach any definite conclusion, ... only it is evident that she has a strong and beautiful voice, not without agility, at the same time that she is a vividly expressive (but somewhat overcharged) actress. Unfortunately her intonation is not completely pure, and I fear she will never overcome these weaknesses. In sum, I think that she could be an outstanding star, and I will certainly in any case write a principal role for her in my new opera."<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> Meyerbeer's new opera would become <i><a href="/wiki/Les_Huguenots" title="Les Huguenots">Les Huguenots</a></i>, in which Falcon was to achieve the greatest success of her career. </p> <div class="mw-heading mw-heading2"><h2 id="Other_early_roles_at_the_Opéra"><span id="Other_early_roles_at_the_Op.C3.A9ra"></span>Other early roles at the Opéra</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Corn%C3%A9lie_Falcon&action=edit&section=3" title="Edit section: Other early roles at the Opéra"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Costume_design_for_Corn%C3%A9lie_Falcon_as_Countess_Am%C3%A9lie_in_Gustave_III_by_Auber_1833_-_Gallica.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Costume_design_for_Corn%C3%A9lie_Falcon_as_Countess_Am%C3%A9lie_in_Gustave_III_by_Auber_1833_-_Gallica.jpg/220px-Costume_design_for_Corn%C3%A9lie_Falcon_as_Countess_Am%C3%A9lie_in_Gustave_III_by_Auber_1833_-_Gallica.jpg" decoding="async" width="220" height="344" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Costume_design_for_Corn%C3%A9lie_Falcon_as_Countess_Am%C3%A9lie_in_Gustave_III_by_Auber_1833_-_Gallica.jpg/330px-Costume_design_for_Corn%C3%A9lie_Falcon_as_Countess_Am%C3%A9lie_in_Gustave_III_by_Auber_1833_-_Gallica.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Costume_design_for_Corn%C3%A9lie_Falcon_as_Countess_Am%C3%A9lie_in_Gustave_III_by_Auber_1833_-_Gallica.jpg/440px-Costume_design_for_Corn%C3%A9lie_Falcon_as_Countess_Am%C3%A9lie_in_Gustave_III_by_Auber_1833_-_Gallica.jpg 2x" data-file-width="1641" data-file-height="2565" /></a><figcaption>Costume design for Falcon as Amélie in Act 2 of <i>Gustave III</i></figcaption></figure> <p>Her next role at the Opéra came on 27 February 1833 when she sang Amélie in Auber's <i><a href="/wiki/Gustave_III_(Auber)" title="Gustave III (Auber)">Gustave III</a></i>. Ellen Creathorne Clayton has described the performance as follows: </p> <blockquote> <p>Unfortunately, the part of the Countess Amélie, with its powder and hoops, and pretty coquetry, was not suited to the dark and mystic style of Cornélie. "Alas, Mdlle. Falcon!" cried <a href="/wiki/Jules_Janin" title="Jules Janin">Jules Janin</a>; "this young creature, of such great hopes, sang without voice, without expression, without exertion, without energy, without point." She was stifled amid the mad gayety, the whirl of the dancers, the glare and splendor of the scenes. The singers in <i>Gustave</i> indeed were "nowhere;" the dancers reigned supreme.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> </blockquote> <p><a href="/wiki/Luigi_Cherubini" title="Luigi Cherubini">Luigi Cherubini</a> asked Falcon to create Morgiana in his new 4-act <i>tragédie lyrique</i> <i><a href="/wiki/Ali_Baba,_ou_Les_quarante_voleurs" class="mw-redirect" title="Ali Baba, ou Les quarante voleurs">Ali Baba, ou Les quarante voleurs</a></i> (<i>Ali Baba and the Forty Thieves</i>). The premiere was on 22 July 1833, and, as Spire Pitou tells us, "his invitation was more flattering than substantial, because the part of Morgiana hardly constituted a real challenge to a young and ambitious singer".<sup id="cite_ref-Pitou450_18-0" class="reference"><a href="#cite_note-Pitou450-18"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p><p>Falcon's next real opportunity to shine came with a new revival of <i>Don Juan</i>. This was a 5-act adaptation in French by <a href="/wiki/Castil-Blaze" title="Castil-Blaze">Castil-Blaze</a>, his son Henri Blaze, and Émile Deschamps of Mozart's <i><a href="/wiki/Don_Giovanni" title="Don Giovanni">Don Giovanni</a></i>. The all-star cast included Falcon as Donna Anna and Nourrit as Don Juan with <a href="/wiki/Nicolas_Levasseur" title="Nicolas Levasseur">Nicolas Levasseur</a> as Leporello, Marcellin Lafont as Don Ottavio, <a href="/wiki/Prosper_D%C3%A9rivis" title="Prosper Dérivis">Prosper Dérivis</a> as the Commandeur, Henri Dabadie as Masetto, Julie Dorus-Gras as Elvire, and <a href="/wiki/Laure_Cinti-Damoreau" title="Laure Cinti-Damoreau">Laure Cinti-Damoreau</a> as Zerline.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> Berlioz, who must have attended a dress rehearsal, had some reservations about Falcon's performance, writing in <i>Rénovateur</i> (6 March 1834): </p> <blockquote> <p>Mlle Falcon, so energetic in <i>Robert le Diable</i>, was physically speaking, with her contenance "pale as a beautiful autumn evening", the ideal Donna Anna. She had fine moments in the accompanied recitative sung over her father's body. Why then did she all at once go off the boil in the great aria of the first act, "Tu sais quel inflâme"? Oh! Mlle Falcon, with those black eyes of yours and the incisive voice you possess, there is no need to be afraid. Let your eyes flash and your voice ring out: you will be yourself, and you will be the incarnation of the vengeful Spanish noblewoman whose principal features your timidity veiled from us.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> </p> </blockquote> <p>Berlioz was rather more frank in a letter in which he wrote "my position [as a critic] has not allowed me to admit that without exception all the singers, and Nourrit most of all, are a thousand miles below their roles."<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> Nevertheless, Falcon was admirably suited to the part, and her reception after the opening on 10 March 1834, was even more favorable than that which she had received for Alice.<sup id="cite_ref-Pitou450_18-1" class="reference"><a href="#cite_note-Pitou450-18"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p><p>On 3 May 1834, Falcon sang Julia in a revival of Spontini's <i><a href="/wiki/La_vestale" class="mw-redirect" title="La vestale">La vestale</a></i> which was a benefit performance for Adolphe Nourrit. The cast, besides Nourrit as Licinius, included Nicolas Levasseur as Cinna, Henri Dabadie as the High Priest, and Zulmé Leroux-Dabadie as the Grand Vestal. The second act was repeated as an excerpt five more times that season.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Falcon's portrayal of Julia was received favorably.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Concerts_with_Berlioz">Concerts with Berlioz</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Corn%C3%A9lie_Falcon&action=edit&section=4" title="Edit section: Concerts with Berlioz"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Berlioz's admiration for the singer was considerable, however, and with Véron's permission he engaged her for one of his concerts which he organized that winter in the hall of the Paris Conservatory. It was the second in the series and was presented on 23 November 1834 with <a href="/wiki/Narcisse_Girard" title="Narcisse Girard">Narcisse Girard</a> conducting. Falcon sang Berlioz's new orchestrations of the songs <i>La captive</i> and <i>Le Jeune Pâtrie breton</i>, and earned an encore in which she sang an aria by Bellini. The concert also featured the premiere of Berlioz's new symphony <i><a href="/wiki/Harold_en_Italie" title="Harold en Italie">Harold en Italie</a></i>, and the audience included the <a href="/wiki/Prince_Ferdinand_Philippe,_Duke_of_Orl%C3%A9ans" title="Prince Ferdinand Philippe, Duke of Orléans">Duc d'Orléans</a>, <a href="/wiki/Chopin" class="mw-redirect" title="Chopin">Chopin</a>, <a href="/wiki/Liszt" class="mw-redirect" title="Liszt">Liszt</a>, and <a href="/wiki/Victor_Hugo" title="Victor Hugo">Victor Hugo</a>. With the new symphony and Falcon as the star singer, the receipts were more than double those of the first concert on 9 November, which had featured the <i><a href="/wiki/Symphonie_fantastique" title="Symphonie fantastique">Symphonie fantastique</a></i> and the overture <i><a href="/wiki/King_Lear_Overture" class="mw-redirect" title="King Lear Overture">Le Roi Lear</a></i>.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> However, <i>La captive</i>, and not <i>Harold</i>, was the hit of the show, with the <i>Gazette Musicale</i> (7 December 1834) calling it "a masterpiece of melodic skill and orchestration."<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> Falcon also appeared the following year in a concert on 22 November 1835 which was organized jointly by Girard and Berlioz, in which she again sang Berlioz's <i>Le Jeune Pâtre breton</i> and an aria from Meyerbeer's opera <i><a href="/wiki/Il_crociato_in_Egitto" title="Il crociato in Egitto">Il crociato in Egitto</a></i>.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Further_roles_at_the_Opéra"><span id="Further_roles_at_the_Op.C3.A9ra"></span>Further roles at the Opéra</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Corn%C3%A9lie_Falcon&action=edit&section=5" title="Edit section: Further roles at the Opéra"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Corn%C3%A9lie_Falcon_-_La_Juive_-_HRobinson_after_Charpentier_-_Gallica_v2.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Corn%C3%A9lie_Falcon_-_La_Juive_-_HRobinson_after_Charpentier_-_Gallica_v2.jpg/220px-Corn%C3%A9lie_Falcon_-_La_Juive_-_HRobinson_after_Charpentier_-_Gallica_v2.jpg" decoding="async" width="220" height="320" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Corn%C3%A9lie_Falcon_-_La_Juive_-_HRobinson_after_Charpentier_-_Gallica_v2.jpg/330px-Corn%C3%A9lie_Falcon_-_La_Juive_-_HRobinson_after_Charpentier_-_Gallica_v2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Corn%C3%A9lie_Falcon_-_La_Juive_-_HRobinson_after_Charpentier_-_Gallica_v2.jpg/440px-Corn%C3%A9lie_Falcon_-_La_Juive_-_HRobinson_after_Charpentier_-_Gallica_v2.jpg 2x" data-file-width="1704" data-file-height="2479" /></a><figcaption>Falcon as Rachel in <i><a href="/wiki/La_Juive" title="La Juive">La Juive</a></i></figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Eug%C3%A8ne_Du_Faget_-_Costume_designs_for_Les_Huguenots_-_2._Julie_Dorus-Gras_as_Marguerite,_Adolphe_Nourrit_as_Raoul,_and_Corn%C3%A9lie_Falcon_as_Valentine.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/52/Eug%C3%A8ne_Du_Faget_-_Costume_designs_for_Les_Huguenots_-_2._Julie_Dorus-Gras_as_Marguerite%2C_Adolphe_Nourrit_as_Raoul%2C_and_Corn%C3%A9lie_Falcon_as_Valentine.jpg/310px-Eug%C3%A8ne_Du_Faget_-_Costume_designs_for_Les_Huguenots_-_2._Julie_Dorus-Gras_as_Marguerite%2C_Adolphe_Nourrit_as_Raoul%2C_and_Corn%C3%A9lie_Falcon_as_Valentine.jpg" decoding="async" width="310" height="206" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/52/Eug%C3%A8ne_Du_Faget_-_Costume_designs_for_Les_Huguenots_-_2._Julie_Dorus-Gras_as_Marguerite%2C_Adolphe_Nourrit_as_Raoul%2C_and_Corn%C3%A9lie_Falcon_as_Valentine.jpg/465px-Eug%C3%A8ne_Du_Faget_-_Costume_designs_for_Les_Huguenots_-_2._Julie_Dorus-Gras_as_Marguerite%2C_Adolphe_Nourrit_as_Raoul%2C_and_Corn%C3%A9lie_Falcon_as_Valentine.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/52/Eug%C3%A8ne_Du_Faget_-_Costume_designs_for_Les_Huguenots_-_2._Julie_Dorus-Gras_as_Marguerite%2C_Adolphe_Nourrit_as_Raoul%2C_and_Corn%C3%A9lie_Falcon_as_Valentine.jpg/620px-Eug%C3%A8ne_Du_Faget_-_Costume_designs_for_Les_Huguenots_-_2._Julie_Dorus-Gras_as_Marguerite%2C_Adolphe_Nourrit_as_Raoul%2C_and_Corn%C3%A9lie_Falcon_as_Valentine.jpg 2x" data-file-width="4876" data-file-height="3244" /></a><figcaption>Falcon (right) as Valentine in <i><a href="/wiki/Les_Huguenots" title="Les Huguenots">Les Huguenots</a></i> (1836), with <a href="/wiki/Julie_Dorus-Gras" title="Julie Dorus-Gras">Julie Dorus-Gras</a> (left) as Marguerite, and <a href="/wiki/Adolphe_Nourrit" title="Adolphe Nourrit">Adolphe Nourrit</a> as Raoul</figcaption></figure><p>Falcon's other creations at the Opéra included the roles of Rachel in Halévy's <i><a href="/wiki/La_Juive" title="La Juive">La Juive</a></i> (23 February 1835), Valentine in Meyerbeer's <i><a href="/wiki/Les_Huguenots" title="Les Huguenots">Les Huguenots</a></i> (29 February 1836), the title role in <a href="/wiki/Louise_Bertin" title="Louise Bertin">Louise Bertin</a>'s <i><a href="/wiki/La_Esmeralda_(opera)" title="La Esmeralda (opera)">La Esmeralda</a></i> (14 November 1836), and Léonor in <a href="/wiki/Louis_Niedermeyer" title="Louis Niedermeyer">Louis Niedermeyer</a>'s <i><a href="/wiki/Stradella_(opera)" class="mw-redirect" title="Stradella (opera)">Stradella</a></i> (3 March 1837).<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> She also appeared as the Countess in <a href="/wiki/Gioacchino_Rossini" class="mw-redirect" title="Gioacchino Rossini">Rossini</a>'s <i><a href="/wiki/Le_comte_Ory" title="Le comte Ory">Le comte Ory</a></i> and Pamira in Rossini's <i><a href="/wiki/Le_si%C3%A8ge_de_Corinthe" title="Le siège de Corinthe">Le siège de Corinthe</a></i> (1836).<sup id="cite_ref-Gourret_9-1" class="reference"><a href="#cite_note-Gourret-9"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p><p>By 1835, Falcon was earning 50,000 francs/year at the Opéra, making her the highest paid artist there, earning nearly twice as much as Nourrit and three times as much as Dorus.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Vocal_demise_and_final_years">Vocal demise and final years</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Corn%C3%A9lie_Falcon&action=edit&section=6" title="Edit section: Vocal demise and final years"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>However, Falcon's singing career was remarkably short. She lost her voice catastrophically during the second performance of <i>Stradella</i> at the Opéra in March 1837. When Nourrit as Stradella asked her "Demain nous partirons – voulez-vous?" ('We leave tomorrow, are you willing?'), Falcon was unable to sing her line "Je suis prête" ('I am ready'), fainted, and was carried offstage by Nourrit.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> Berlioz, who was present, describes "raucous sounds like those of a child with <a href="/wiki/Croup" title="Croup">croup</a>, guttural, whistling notes that quickly faded like those of a flute filled with water".<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> Falcon resumed performances, but her vocal difficulties continued, and she gave her last regular performance there in Meyerbeer's <i><a href="/wiki/Les_Huguenots" title="Les Huguenots">Les Huguenots</a></i> on 15 January 1838.<sup id="cite_ref-NGO_7-1" class="reference"><a href="#cite_note-NGO-7"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> She resorted to all sorts of bogus treatments and remedies<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> and moved to Italy for 18 months in the hope that the climate would have a beneficial effect.<sup id="cite_ref-Fetis_14-1" class="reference"><a href="#cite_note-Fetis-14"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p><p>Falcon returned for a benefit at the Opéra on 14 March 1840, in which she was to sing selections from Act 2 of <i>La Juive</i> and Act 4 of <i>Les Huguenots</i> with <a href="/wiki/Gilbert_Duprez" title="Gilbert Duprez">Gilbert Duprez</a>, Jean-Étienne Massol, and Julie Dorus-Gras. Her appearance was described as seemingly relaxed, as she received a standing ovation at her entrance. Her range in notes was critically diminished, and she could not perform in opera. She was said to have wept in response to her own vocal state. However, soon after it was discovered that her vocal abilities were now gone. As Spire Pitou relates: "She wept at her own pathetic fate but continued despite her inability to do much else besides make the audience regret the loss of her gifts. When she came to the painfully poignant words in <i>Les Huguenots</i>, 'Nuit fatale, nuit d'alarmes, je n'ai plus d'avenir' ('Fatal night, night of alarms, I have no longer a future'), she could not support the dreadful irony of the line. She had no choice but to retire ..."<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> There followed a few performances in Russia in 1840–1841, but after that, except for a few private performances in Paris at the court of <a href="/wiki/Louis-Philippe" class="mw-redirect" title="Louis-Philippe">Louis-Philippe</a> and for the <a href="/wiki/Prince_Louis,_Duke_of_Nemours" title="Prince Louis, Duke of Nemours">Duc de Nemours</a>, she definitively quit the stage.<sup id="cite_ref-GroveOnline_6-1" class="reference"><a href="#cite_note-GroveOnline-6"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p><p>Many explanations have been offered for Falcon's loss of voice, including the enormous demands of the music of <a href="/wiki/Grand_Opera" class="mw-redirect" title="Grand Opera">Grand Opera</a>, the "ill-effects of beginning to sing in a large opera house before her body was fully mature", Falcon's attempts to lift her range above its natural <a href="/wiki/Mezzo-soprano" title="Mezzo-soprano">mezzo-soprano</a> range, and nervous fatigue brought on by her personal life.<sup id="cite_ref-Smart116_35-0" class="reference"><a href="#cite_note-Smart116-35"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> Benjamin Walton has analyzed the music written for her and has suggested there was a break in her voice between a' and b<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span>'. <a href="/wiki/Gilbert_Duprez" title="Gilbert Duprez">Gilbert Duprez</a>, who sang with her on several occasions, speculated that her inability to negotiate this transition was a factor in her "vocal demise".<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> </p><p>Falcon married a financier, becoming Madame Falcon-Malançon and a grandmother,<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> and continued to live, reclusively, near the Opéra in the <a href="/wiki/Chauss%C3%A9e_d%27Antin" class="mw-redirect" title="Chaussée d'Antin">Chaussée d'Antin</a>, until her death.<sup id="cite_ref-Smart116_35-1" class="reference"><a href="#cite_note-Smart116-35"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> At the end of 1891, she agreed to appear on stage at the Opéra on the occasion of a celebration of the centenary of Meyerbeer, "with three of her surviving contemporaries". She died in 1897 and was buried at <a href="/wiki/P%C3%A8re_Lachaise_Cemetery" title="Père Lachaise Cemetery">Père Lachaise Cemetery</a>.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Reputation">Reputation</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Corn%C3%A9lie_Falcon&action=edit&section=7" title="Edit section: Reputation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Costume_designs_by_Louis_Boulanger_for_Louise_Bertin%27s_La_Esmeralda_-_No._22._Corn%C3%A9lie_Falcon_as_Esmeralda_-_Original.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/98/Costume_designs_by_Louis_Boulanger_for_Louise_Bertin%27s_La_Esmeralda_-_No._22._Corn%C3%A9lie_Falcon_as_Esmeralda_-_Original.jpg/220px-Costume_designs_by_Louis_Boulanger_for_Louise_Bertin%27s_La_Esmeralda_-_No._22._Corn%C3%A9lie_Falcon_as_Esmeralda_-_Original.jpg" decoding="async" width="220" height="298" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/98/Costume_designs_by_Louis_Boulanger_for_Louise_Bertin%27s_La_Esmeralda_-_No._22._Corn%C3%A9lie_Falcon_as_Esmeralda_-_Original.jpg/330px-Costume_designs_by_Louis_Boulanger_for_Louise_Bertin%27s_La_Esmeralda_-_No._22._Corn%C3%A9lie_Falcon_as_Esmeralda_-_Original.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/98/Costume_designs_by_Louis_Boulanger_for_Louise_Bertin%27s_La_Esmeralda_-_No._22._Corn%C3%A9lie_Falcon_as_Esmeralda_-_Original.jpg/440px-Costume_designs_by_Louis_Boulanger_for_Louise_Bertin%27s_La_Esmeralda_-_No._22._Corn%C3%A9lie_Falcon_as_Esmeralda_-_Original.jpg 2x" data-file-width="3270" data-file-height="4435" /></a><figcaption>Costume design for Falcon in the title role of <i><a href="/wiki/La_Esmeralda_(opera)" title="La Esmeralda (opera)">La Esmeralda</a></i> by <a href="/wiki/Louise_Bertin" title="Louise Bertin">Louise Bertin</a></figcaption></figure> <p>Having sung many of the important roles of early Grand Opera, Falcon was closely associated with the genre by contemporary audiences. The designation of the voice timbre "falcon", a <a href="/wiki/Dramatic_soprano" title="Dramatic soprano">dramatic soprano</a> with a strong lower register (and lighter upper register) reflects this. Castil-Blaze described her voice in 1832: </p> <blockquote><p>...A range of two octaves extending from b to d''', and resonating at all points with an equal vigour. A silvery voice, with a brilliant timbre, incisive enough that even the weight of the chorus cannot overwhelm it; yet the sound emitted with such force never loses its charm or purity.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup></p></blockquote> <p>Falcon's personal reputation was also relevant to her career. "Perhaps the only singer of the time to maintain a reputation for chastity", this perception carried over to appreciation of her performances of the <i>ingénue</i> roles for which she was famed.<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p><p>In 1844, <a href="/wiki/Henry_Fothergill_Chorley" class="mw-redirect" title="Henry Fothergill Chorley">Chorley</a> wrote of Falcon as: </p> <blockquote> <p>... the ill-starred Mademoiselle Falcon, the loved and the lost one of L'Académie. </p> </blockquote> <blockquote> <p>She, indeed, was a person to haunt even a passing stranger. Though the seal of her race was upon her beauty, and it wore the expression of a <a href="/wiki/Deborah" title="Deborah">Deborah</a> or a <a href="/wiki/Judith" class="mw-redirect" title="Judith">Judith</a>,<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>n 2<span class="cite-bracket">]</span></a></sup> rather than of a <a href="/wiki/Melpomene" title="Melpomene">Melpomene</a>, I have never seen any actress, who in look and gesture so well deserved the style and title of the Muse of Modern Tragedy. Large, dark, melancholy eyes, – finely cut features, – a form, though slight, not meagre, – and, above all, an expressiveness of tone rarely to be found in voices of her register, which was a legitimate <i>soprano</i>, – the power of engaging interest by mere glance and step when first she presented herself, and of exciting the strongest emotions of pity, or terror, or suspense, by the passion she could develope [sic] in action – such were her gifts. Add to these the charms of her youth, the love borne to her by all her comrades; – and the loss of her voice, followed by the almost desperate efforts made by her to recover it, and her disastrous final appearance when no force of will could torture destroyed Nature into even a momentary resuscitation, – make up one of those tragedies into which a fearful sum of wrecked hope and despair and anguish enters. Hers is a history, if all tales are true, too dark to be repeated, even with the honest purpose, not of pandering to an evil curiosity, but of pointing out the snares and pitfalls which lie in wait for the <i>artiste</i>, and of inquiring, for the sake of Art as well as of Humanity (the two are inseparable), if there be no protection against them, – no means for their avoidance?<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> </p> </blockquote> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Corn%C3%A9lie_Falcon&action=edit&section=8" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><b>Notes</b> </p> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap"><ol class="references"> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Falcon's date of birth is given as 28 January 1814 by many sources <sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Other sources give her date of birth as 28 January 1812 <sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Braud 1913,<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> quotes the <i>minutes des actes de naissance</i> (minutes of birth certificates) of the Préfecture du département de la Seine, which read: "Du 29 janvier de l'an dix-huit cent quatorze, à midi un quart, acte de naissance de Marie-Cornélie, de sexe féminin, née d'hier à midi, rue de Béthizy, nº10, quartier Saint-Honoré, fille de Pierre Falcon, tailleur, et de Edmée-Cornélie Mérot, son épouse." ("On 29 January of the year eighteen hundred fourteen, at noon and a quarter, birth certificate of Marie-Cornélie, of female sex, born yesterday at noon, Rue du Béthizy, no. 10, Saint-Honoré Quarter, daughter of Pierre Falcon, tailor, and of Edmée-Cornélie Mérot, his wife."). Thus, her birth occurred at noon on 28 January 1814 and was recorded on 29 January at 12:15 p.m. Braud specifically repudiates the errors of earlier publications by Larousse and Malherbes which give the year 1812.</span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text">Chorley implies, and Jordan 1994, p. 69, explicitly states (but does not cite a source for the information), that Falcon was of <a href="/wiki/Jew" class="mw-redirect" title="Jew">Jewish</a> descent. She is also identified as Jewish in "F. Halévy", <i>Archives israélites</i>,.<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> Not a single source provides any documentary evidence to corroborate this. Kelly 2004, p. 167, labels Chorley's rather indirect phraseology as "anti-semitic doubletalk", although nothing in Chorley's description suggests any such intention.</span> </li> </ol></div></div> <p><b>References</b> </p> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626"><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Bouvet 1927 (<a rel="nofollow" class="external text" href="http://www.google.com/search?tbo=p&tbm=bks&q=%2228+Janvier%22+intitle:falcon+inauthor:bouvet&num=10">snippet view</a> at <a href="/wiki/Google_Books" title="Google Books">Google Books</a>); Gourret 1987, p. 33; Kuhn 1992, p. 219; Warrack and West 1992, p. 230; and Robinson and Walton 2011.</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">including Fétis 1862, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ssmzj4ZblG4C&dq=editions%3AHARVARD32044039600002&pg=PA179">p. 179</a>; Pitou 1990, p. 449; Robinson 1992, p. 110; and Kutsch and Riemens 2003, p. 1388.</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://gallica.bnf.fr/ark:/12148/bpt6k229346x/f83">pp. 77-78</a> (footnote 2)</span> </li> <li id="cite_note-WW-5"><span class="mw-cite-backlink">^ <a href="#cite_ref-WW_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-WW_5-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-WW_5-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-WW_5-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text">Warrack and West 1992, p. 230.</span> </li> <li id="cite_note-GroveOnline-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-GroveOnline_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-GroveOnline_6-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Robinson and Walton 2011.</span> </li> <li id="cite_note-NGO-7"><span class="mw-cite-backlink">^ <a href="#cite_ref-NGO_7-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-NGO_7-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Robinson 1992, p. 110.</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Braud 1913, p. 77.</span> </li> <li id="cite_note-Gourret-9"><span class="mw-cite-backlink">^ <a href="#cite_ref-Gourret_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Gourret_9-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Gourret 1987, p. 33.</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Pierre 1900, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=MXAJAQAAMAAJ&pg=PA751">p. 751</a>.</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">According to Desarbres 1868, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=A7U5AAAAIAAJ&pg=PA60">p. 60</a>, Julie Dorus alternated in the two roles of Alice and Isabelle, the flexibility of her voice enabling this vocal tour de force.</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">The list of celebrities in the audience is compiled from Smart 2003, pp. 113-114, Somerset-Wild 2004, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=dVZl_G_h7aUC&pg=PA172">p. 172</a>, and Braud 1913, p. 80, who also lists many others, including <a href="/wiki/Benjamin_Constant" title="Benjamin Constant">Benjamin Constant</a>, <a href="/wiki/G%C3%A9rard_de_Nerval" title="Gérard de Nerval">Gérard de Nerval</a>, <a href="/wiki/Eug%C3%A8ne_Sue" title="Eugène Sue">Eugène Sue</a>, <a href="/wiki/Charles_Augustin_Sainte-Beuve" title="Charles Augustin Sainte-Beuve">Charles Augustin Sainte-Beuve</a> and <a href="/wiki/Adolphe_Thiers" title="Adolphe Thiers">Adolphe Thiers</a>.</span> </li> <li id="cite_note-Pitou449-13"><span class="mw-cite-backlink">^ <a href="#cite_ref-Pitou449_13-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Pitou449_13-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Pitou 1990, p. 449.</span> </li> <li id="cite_note-Fetis-14"><span class="mw-cite-backlink">^ <a href="#cite_ref-Fetis_14-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Fetis_14-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Fétis 1862, p. 179.</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Pitou 1990, pp. 449–450.</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Letter dated 18 September 1832 from Giacomo Meyerbeer to his wife. Quoted in Kelly 2004, p. 167, and Zimmermann 1998, p. 151.</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Clayton 1865, p. 324.</span> </li> <li id="cite_note-Pitou450-18"><span class="mw-cite-backlink">^ <a href="#cite_ref-Pitou450_18-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Pitou450_18-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Pitou 1990, p. 450.</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Chouquet 1873, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=HfssAAAAYAAJ&pg=PA398">p. 398</a>.</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">Quoted and translated by Cairns 1999, p. 71.</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">Quoted and translated by Cairns 1999, p. 66.</span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text"><a href="/wiki/Th%C3%A9odore_Lajarte" title="Théodore Lajarte">Lajarte</a> 1878, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=gnw6AAAAIAAJ&pg=PA63">pp. 63–64</a>; Chouquet 1873, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=HfssAAAAYAAJ&pg=PA382">p. 382</a>.</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">Kutsch and Riemens 2003, p. 1388.</span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">Holoman 1989, p. 163; Cairns 1999, pp. 41–42.</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text">Holoman 1989, p. 164. The orchestration of <i>La captive</i> has unfortunately been lost (Holoman 1989, p. 241).</span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">Holoman 1989, p. 171; Cairns 1999, p. 99.</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">Parsons 193, p. 467.</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text">Lajarte 1878, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=gnw6AAAAIAAJ&pg=PA123">pp. 123–124</a>.</span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text">Smart 2003, p. 114</span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text">Cairns 1999, p. 151, citing Bouvet, 1927. Braud 1913, p. 94, says it was the fourth performance, and gives a different quotation.</span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text">Quoted by Bouvet 1927 and reproduced in Smart 2003, p. 116.</span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text">Kuhn 1992, p. 219.</span> </li> <li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">Pitou 1990, p. 451.</span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Braud 1913, p. 103.</span> </li> <li id="cite_note-Smart116-35"><span class="mw-cite-backlink">^ <a href="#cite_ref-Smart116_35-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Smart116_35-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Smart 2003, p. 116.</span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text">The suggestion of a break in her voice is credited to Walton by Smart 2003, p. 116, and the suggestion by Gilbert Duprez that this contributed to her loss of voice is mentioned in Robinson and Walton 2001.</span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Braud 1913, pp. 103–106.</span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text">Braud 1913, pp. 103 (note 2), 106.</span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text">Bouvet 1927 p.39, cited in translation in Smart 2003 p.116</span> </li> <li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text">Smart 2003, p. 113</span> </li> <li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=bnEpAAAAYAAJ&pg=PA188">vol. 23, no. 4 (1 April 1862), p. 188</a></span> </li> <li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text">Chorley 1844, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=XiX_AAAAMAAJ&pg=PA188">p. 188</a>.</span> </li> </ol></div></div> <p><b>Cited sources</b> </p> <ul><li><a href="/wiki/Barzun,_Jacques" class="mw-redirect" title="Barzun, Jacques">Barzun, Jacques</a> (1969). <i>Berlioz and the romantic century</i> (3rd edition, 2 volumes). New York: Columbia University Press. <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-231-03135-6" title="Special:BookSources/978-0-231-03135-6">978-0-231-03135-6</a>.</li> <li>Berlioz, Hector; Cairns, David, editor and translator (2002). <i>The memoirs of Hector Berlioz</i> (first published in a different format in 1969). New York: Alfred A. Knopf. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-375-41391-9" title="Special:BookSources/978-0-375-41391-9">978-0-375-41391-9</a>.</li> <li>Bouvet, Charles (1927). <i>Cornélie Falcon</i> (in French). Paris: Alcan. <a rel="nofollow" class="external text" href="http://www.worldcat.org/title/cornelie-falcon/oclc/2610637/editions?editionsView=true&referer=br">View formats and editions</a> at <a href="/wiki/OCLC" title="OCLC">OCLC</a>.</li> <li>Braud, Barthélémy (1913). "Une reine de chant: Cornélie Falcon". <i>Bulletin historique, scientifique, littéraire, artistique et agricole illustré</i> <b>3</b>: 73–108. Le-Puy-en-Velay: Société scientifique et agricole de la Haute-Loire. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/search?fq=x0:jrnl&q=n2:1153-2491">1153-2491</a>. <a href="https://commons.wikimedia.org/wiki/File:Braud_1913-_Une_reine_du_chant-_Corn%C3%A9lie_Falcon_-_Gallica.pdf" class="extiw" title="commons:File:Braud 1913- Une reine du chant- Cornélie Falcon - Gallica.pdf">Copy at Commons</a>.</li> <li><a href="/wiki/Cairns,_David_(writer)" class="mw-redirect" title="Cairns, David (writer)">Cairns, David</a> (1999). <i>Berlioz. Volume Two. Servitude and greatness 1832–1869</i>. Berkeley, California: University of California Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-22200-7" title="Special:BookSources/978-0-520-22200-7">978-0-520-22200-7</a>.</li> <li><a href="/wiki/Chorley,_Henry_F." class="mw-redirect" title="Chorley, Henry F.">Chorley, Henry F.</a> (1844). <i>Music and Manners in France and Germany: A Series of Travelling Sketches of Art and Society</i> (volume one of three). London: Longman, Brown, Green and Longman's. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=XiX_AAAAMAAJ&pg=PR1">View</a> at <a href="/wiki/Google_Books" title="Google Books">Google Books</a>.</li> <li><a href="/wiki/Chouquet,_Gustave" class="mw-redirect" title="Chouquet, Gustave">Chouquet, Gustave</a> (1873). <i>Histoire de la musique dramatique en France</i> (in French). Paris: Didot. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=HfssAAAAYAAJ&pg=PR3">View</a> at <a href="/wiki/Google_Books" title="Google Books">Google Books</a>.</li> <li>Clayton, Ellen Creathorne (1865). <i>Queens of Song. Being Memoirs of Some of the Most Celebrated Female Vocalists Who Have Performed on the Lyric Stage from the Earliest Days of Opera to the Present Time</i>. New York: Harper & Bros. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=a-0WAAAAYAAJ&pg=PP7">View</a> at <a href="/wiki/Google_Books" title="Google Books">Google Books</a>.</li> <li>Desarbres, Nérée (1868). <i>Deux siècles à l'Opéra (1669–1868)</i> (in French). Paris: E. Dentu. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=A7U5AAAAIAAJ&pg=PP9">View</a> at <a href="/wiki/Google_Books" title="Google Books">Google Books</a>.</li> <li><a href="/wiki/F%C3%A9tis,_F.-J." class="mw-redirect" title="Fétis, F.-J.">Fétis, F.-J.</a> (1862). <i>Biographie universelle des musiciens</i> (in French), second edition, volume 3. Paris: Didot. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ssmzj4ZblG4C&pg=PP7">View</a> at <a href="/wiki/Google_Books" title="Google Books">Google Books</a>.</li> <li>Gourret, Jean (1987). <i>Dictionnaire des cantatrices de l'Opéra de Paris</i> (in French). Paris: Albatros. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-7273-0164-6" title="Special:BookSources/978-2-7273-0164-6">978-2-7273-0164-6</a>.</li> <li><a href="/wiki/Holoman,_D._Kern" class="mw-redirect" title="Holoman, D. Kern">Holoman, D. Kern</a> (1989). <i>Berlioz</i>. Cambridge, Massachusetts: Harvard University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-674-06778-3" title="Special:BookSources/978-0-674-06778-3">978-0-674-06778-3</a>.</li> <li>Jordan, Ruth (1994). <i>Fromental Halévy: His Life & Music, 1799–1862</i>. London: Kahn & Averill. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-871082-51-7" title="Special:BookSources/978-1-871082-51-7">978-1-871082-51-7</a>.</li> <li>Kelly, Thomas Forrest (2004). "Les Huguenots" in <i>First Nights at the Opera</i>. New Haven: Yale University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-300-10044-0" title="Special:BookSources/978-0-300-10044-0">978-0-300-10044-0</a>.</li> <li>Kuhn, Laura, editor (1992). <i>Baker's Dictionary of Opera</i>. New York: Schirmer Books. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-02-865349-5" title="Special:BookSources/978-0-02-865349-5">978-0-02-865349-5</a>.</li> <li><a href="/wiki/Kutsch,_K._J." class="mw-redirect" title="Kutsch, K. J.">Kutsch, K. J.</a>; <a href="/wiki/Riemens,_Leo" class="mw-redirect" title="Riemens, Leo">Riemens, Leo</a> (2003). <i><a href="/wiki/Gro%C3%9Fes_S%C3%A4ngerlexikon" title="Großes Sängerlexikon">Großes Sängerlexikon</a></i> (fourth edition, in German). Munich: K. G. Saur. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-598-11598-1" title="Special:BookSources/978-3-598-11598-1">978-3-598-11598-1</a>.</li> <li><a href="/wiki/Lajarte,_Th%C3%A9odore" class="mw-redirect" title="Lajarte, Théodore">Lajarte, Théodore</a> (1878). <i>Bibliothèque musicale du Théâtre de l'Opéra</i>, volume 2 [1793–1876]. Paris: Librairie des Bibliophiles. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=gnw6AAAAIAAJ&pg=PP13">View</a> at <a href="/wiki/Google_Books" title="Google Books">Google Books</a>.</li> <li>Meyerbeer, Giacomo; Letellier, Robert Ignatius, translator and editor (1999). <i>The Diaries of Giacomo Meyerbeer. Volume 1: 1791–1839</i>. Madison, New Jersey: Fairleigh Dickinson University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8386-3789-0" title="Special:BookSources/978-0-8386-3789-0">978-0-8386-3789-0</a>.</li> <li>Parsons, Charles H. (1993). <i>Opera Premieres: An Index of Casts/Performances</i>, volume 15 in the series <i>The Mellen Opera Index</i>. Lewiston, New York: The Edward Mellen Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-88946-414-8" title="Special:BookSources/978-0-88946-414-8">978-0-88946-414-8</a>.</li> <li><a href="/wiki/Pierre,_Constant" class="mw-redirect" title="Pierre, Constant">Pierre, Constant</a>, editor (1900). <i>Le Conservatoire national de musique et de déclamation. Documents historiques et administratifs</i>. Paris: Imprimerie National. 1031 pages. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=MXAJAQAAMAAJ&pg=PR3">View</a> at <a href="/wiki/Google_Books" title="Google Books">Google Books</a>.</li> <li>Pitou, Spire (1990). <i>The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. Growth and Grandeur, 1815–1914</i>. New York: Greenwood Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-313-26218-0" title="Special:BookSources/978-0-313-26218-0">978-0-313-26218-0</a>.</li> <li>Robinson, Philip (1992). "Falcon, (Marie) Cornélie", vol. 2, p. 110, in <i><a href="/wiki/The_New_Grove_Dictionary_of_Opera" title="The New Grove Dictionary of Opera">The New Grove Dictionary of Opera</a></i> (4 volumes). London: Macmillan. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-228-9" title="Special:BookSources/978-1-56159-228-9">978-1-56159-228-9</a>.</li> <li>Robinson, Philip; Walton, Benjamin (2001). <i>Falcon, (Marie) Cornélie</i> in <a href="/wiki/Grove_Music_Online" class="mw-redirect" title="Grove Music Online">Grove Music Online</a> (subscription only, consulted 12 June 2011). Also in Sadie and Tyrell 2001.</li> <li><a href="/wiki/Sadie,_Stanley" class="mw-redirect" title="Sadie, Stanley">Sadie, Stanley</a>, editor; John Tyrell; executive editor (2001). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i>, 2nd edition. London: Macmillan. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5">978-1-56159-239-5</a> (hardcover). <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/419285866">419285866</a> (eBook).</li> <li><a href="/wiki/Smart,_Mary_Ann" class="mw-redirect" title="Smart, Mary Ann">Smart, Mary Ann</a> (2003). "Roles, reputations,shadows: singers at the Opéra, 1828-1849", pp. 108–128 in <i><a href="/wiki/Cambridge_Companions_to_Music" class="mw-redirect" title="Cambridge Companions to Music">The Cambridge Companion to Grand Opera</a></i>, ed. David Charlton, Cambridge:Cambridge University Press <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-64683-3" title="Special:BookSources/978-0-521-64683-3">978-0-521-64683-3</a>.</li> <li>Somerset-Ward, Richard (2004). <i>Angels and Monsters: Male and Female Sopranos in the Story of Opera, 1600–1900</i>. New Haven: Yale University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-300-09968-3" title="Special:BookSources/978-0-300-09968-3">978-0-300-09968-3</a>.</li> <li><a href="/wiki/Warrack,_John" class="mw-redirect" title="Warrack, John">Warrack, John</a> and West, Ewan (1992). <i>The Oxford Dictionary of Opera</i>. Oxford: Oxford University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-869164-8" title="Special:BookSources/978-0-19-869164-8">978-0-19-869164-8</a>.</li> <li>Zimmermann, Reiner (1998). <i>Giacomo Meyerbeer: Eine Biografie nach Dokumenten</i> (in German). Berlin: Parthas. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-932529-23-8" title="Special:BookSources/978-3-932529-23-8">978-3-932529-23-8</a>.</li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Corn%C3%A9lie_Falcon&action=edit&section=9" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239009302">.mw-parser-output .portalbox{padding:0;margin:0.5em 0;display:table;box-sizing:border-box;max-width:175px;list-style:none}.mw-parser-output .portalborder{border:1px solid 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href="https://isni.org/isni/0000000117640598">ISNI</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://viaf.org/viaf/54414992">VIAF</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://id.worldcat.org/fast/334729/">FAST</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.oclc.org/worldcat/entity/E39PBJpV3CPDJfYbcJygjGbcfq">WorldCat</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/11638736X">Germany</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/nr94003157">United States</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb14841695b">France</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb14841695b">BnF data</a></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Falcon, Marie-Cornélie <1814-1897>"><a rel="nofollow" class="external text" href="https://opac.sbn.it/nome/INTV007397">Italy</a></span></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://dbn.bn.org.pl/descriptor-details/9810620861405606">Poland</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">People</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.deutsche-biographie.de/pnd11638736X.html?language=en">Deutsche Biographie</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.deutsche-digitale-bibliothek.de/person/gnd/11638736X">DDB</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.idref.fr/153078847">IdRef</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://snaccooperative.org/ark:/99166/w6v98mm7">SNAC</a></span></li></ul></div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" 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