DICTIONARY OF MUSIC - El Atril

GALLI GALLIA 137
on the whole. He returned to Pails in 1825,
and made a great sensation ; but his vocalisation
had become rather slow and heavy. This delect
was noticed when he came to London. Ebers
engaged liira with Zuclielli for tlie season of
1827, and his salary was lixed at £870. He
made his first appearance, as usual, in ' La Gazza
Ladra. ' His voice was less flexible than Zu-
chelli's, but its tonewasdeepand full, and, according
to Rossini, he was the only singer who ever
filled the part of Assur satisfactorily. In 1828
Galli went to Spain ; thence to Rome and iililan
in 1830. In the following year he went to
Mexico, and remained attached to the Opera
in that city from 1832 to 1836. In 1839 and
1840 he was singing at Barcelona and Milan, but
was at length obliged to accept the place of
chorus-master at Madrid and Lisbon. Amiable
and cultivated, Galli had but one fault, that of
boundless extravagance. At the end of 1842 he
arrived at Paris in the greatest want, and, as
a charity, obtained a professor's place at the
Conservatoire. His chief income was derived
from a yearly benefit concert, at which the
Italian singers performed. Of this he was
deprived in 1848. He then fell into gi'eat
misery, and died June 3, 1853. J. M.
GALLI, SiGXORA, a mezzo-soprano, who made
her debut in Galuppi's * Enrico,' Jan. 1, 1743, in
London. She and Frasi, ' after transi)lantation
from Italy, took root in this countr}^, and
remained here in gi-eat public favour, for many
years ' (Burney). Galli was frequently employed
in male parts on the stage. Though her
manner was sjarited and interesting, she was
little noticed by the fiublio till she sang in
Handel's 'Judas,' 1746, when she gained such
applause in the air ' 'Tis Liberty,' that she was
encored in it every night, and became an
important personage among singers. She had
already sung in 'Joseph,' 1744, and she subsequently
performed principal parts in 'Joshua,
'Solomon,' 'Susanna,' 'Theodora,' 'Jephtha,'
etc. She is said to have been a favotnlte pupil
of Handel (Cradock). Twenty years later she
sang in Saechini's ' ' Perseo (1774) and ' Jlontezuma
' (1775). She became the companion of
the celebrated Miss Ray, and was with her
when she was assassinated by Hackman, April 7,
1779. She afterwards fell into extreme poverty,
and, about the age of seventy, was induced to
sing again in oratorios. She appeared at Covent
Garden as late as 1797. Lord Mount- Edgcumbe
had the curiosity to go, and heard her sing
' He was despiised.' Her voice was cracked and
trembling, but it was easy to perceive that her
school was good. She died in 1804. .J. M.
GALLI-MARIE, C^lestine, born Nov. 1840
in Paris, was taught singingby her father, Meeene
Marie de I'lsle, formerly a singer at the Paris
Opera under the name Marie. In 1859 she
made her debut at Str.isburg, and next sang in
Italian at Lisbon. About this time she married
a sculptor named Galli, who died soon after in
1861. In April 1862, on the piroduction at
Rouen in French of the ' Bohemian Girl,' she
attracted the attention of the late Emile Perrin,
and obtained from him an engagement at the
Opera Comique, of which he was then director.
Here she made her debut, August 12, in 'La
Serva Padrona,' revived for the first time for
over forty years. She made a great success in
this, and in a revival of Grisar's ' Les Amours
du Liable' (1863), since which time she remained
at that theatre until the end of 1885,
with the exception of engagements in the
provinces, in Italy, Belgium, and elsewhere.
Among the operas in which she has appeared
may be named: — March 24, 1864, 'Lara'
(Maillart) ; Dec. 29, 1864, ' Capitaine Henriot
(Gevaert) ; Feb. 5, Masse's ' Fior d'Aliza,' and
Nov. 17, 1866, 'Mignon'; Nov. 23, 1867,
'Robinson Crusoe,' and Jan. 18, 1872, 'Fan-
tasio' (Otfenbach) ; April 24, 1872, Paladilhc's
'Passant,' at Chollet's farewell benefit; Nov.
30, 1872, Massenet's 'Don Cesar'; March 3,
1875, 'Carmen'; April 11, 1876, Gniraud's
' '
Piccolino ; Oct. 31, 1877, Poise's 'Surprise
de I'Amour ' ; Jan. 19, 1879, Pessard's ' Le
Char,' etc., and in revivals of Herold's ' Marie,'
Grisar's 'Les Porcherons,' 'Mireille,' singing
the parts of Taven and Andreloun, and as the
heroine Rose Friquet in Maillart's ' Dragons
de
Villars. ' As Mignon and Carmen, the most
imjiortant parts created by her, she has earned
for herself world-wide celebrity. In 1886 she
played with a French company for a few nights
at Her Majesty's Theatre as Carmen, in which
she made her debut, Nov. 8, and as the Gipsy in
'Rigoletto.' She was well received, but would
doubtless have appeared to greater advantage
with the support of a better company. On Dec.
11, 1890, she reajipeared at the Opera Comique
—then located in the building now called the
Theatre Sarah -Bernhardt,—as Carmen, with
Melba as Slichaela, Jean de Reszke as Don Jose,
and Lassalle as Escamillo, in a performance given
to raise funds for a monument to Bizet.
' Mme, Galli -Marie should take rank with
those numerous artists who, although endowed
with no great voice, have for a century past rendered
to tills theatre services made remarkable
by their talent for acting and their incontestable
worth from a dramatic point of view. . . .
Equally capable of exciting laughter or of provoking
tears, endowed with an artistic temperament
of great originality . . . which has permitted of
her making out of parts confided to her distinct
tv]'es ... in which she has represented personages
whose nature and characteristics are
(Pougin). She died at
essentially opposed '
Vence, near Nire, Sept. 22, 1905. A. c.
GALLIA, Marh, incorrectly called Maiha
!MAr.OHEi:iTA by Burney, Avas a sister of Margherita
de I'Epine, and pupil of Nicolo Hayrn.
She appeared for the first time at the Lincoln's
k