Personne : Marie Fel

• Genre femme
• Titre Mlle
• Naissance 1713-10-24
• Mort 1794-02-02
• Lieu de naissance France
• Métiers chanteur
Ressources liées :

• wikidata : http://www.wikidata.org/entity/Q2086974
  

D'une troupe

• Sujet Desarbres
  Objet Desarbres N., Deux siècles à l'Opéra, 1868, p. 47 : Cette chanteuse, "née à Bordeaux en 1716, était douée d'une belle voix, et surtout d'un savoir musical peu commun à cette époque. Entrée à l'Opéra en 1734, elle y resta jusqu'en 1759."
  Utilisateur AS
  
• Sujet grovemusic
  Objet MARY CYR : 'Fel, Marie', Grove Music Online ed. L. Macy (Accessed 15 March 2004), http://www.grovemusic.com :
  "Fel, Marie (b Bordeaux, 24 Oct 1713; d Chaillot, 2 Feb 1794). French singer. She learnt the Italian style of singing from the Italian singer Mme Van Loo and made her début in 1734 at the Paris Opéra as Venus in the prologue of Philomèle by La Coste. She performed at the Concert Spirituel and at the Concerts chez la Reine (where operas given in Paris were previewed or repeated), and frequently performed cantatilles (airs between the acts of an opera). From 1739 she began to assume leading roles and, with the famous haute-contre Pierre de Jélyotte, charmed every opera audience. During her long and brilliant career she performed in over a hundred premières and revivals, including major roles in most of Rameau’s works, such as Castor et Pollux (Cupid in 1737, Telaira in 1754), Dardanus (1739, 1744), Hippolyte et Aricie (1742), Zaïs (1748), Platée (1749) and Zoroastre (1749, 1756). Some of her other roles were in works by Lully, Campra, Mouret, Boismortier, Aurore in Mondonville’s Titon et l’Aurore and Colette in Rousseau’s Le devin du village (both 1753). In 1757 she appeared with her pupil Sophie Arnould, who replaced her at the Opéra the following year. Her flexibility and clear articulation particularly suited the technically demanding ariettes. Grimm, in a letter to Raynal (Mercure de France, May 1752), praised her mastery of the Italian style. A singer of sensitivity and intelligence, her many admirers included the librettist Cahusac and the painter Quentin La Tour.
  BIBLIOGRAPHY
  J.-G. Prod’homme: ‘Pierre de Jélyotte (1713–1797)’, SIMG, iii (1901–2), 686–717.
  J.-G. Prod’homme: ‘Marie Fel (1713–1794)’, SIMG, iv (1902–3), 485–518.
  J.-G. Prod’homme: ‘A Pastel by La Tour: Marie Fel’, MQ, ix (1923), 482–507.
  M. Teneo: ‘Marie Fel’, J.-P. Rameau: Naïs, Œuvres complètes, xviii (Paris, 1924), p.lxxix.
  M. Cyr: ‘Eighteenth-Century French and Italian Singing: Rameau’s Writing for the Voice’, ML, lxi (1980), 318–37.
  G. Sadler: ‘Rameau’s Singers and Players at the Paris Opéra: a Little-known Inventory of 1738’, EMc, xi (1983), 453–67."
  Utilisateur AS
  
• Sujet References
  Objet Pitou 1715-1815, p.207-210.
  Benoit (1992) p. 286.
  Utilisateur MM
  
• Sujet Famille
  Objet Sœur de Antoine Fel.
  Utilisateur MM