Cornelie Falcon

Cornélie Falcon (28 January 1814 – 25 February 1897) was a French soprano who sang at the Opéra in Paris. Her greatest success was creating the role of Valentine in Meyerbeer's Les Huguenots. She possessed "a full, resonant voice" with a distinctive dark timbre and was an exceptional actress. 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 Adolphe Nourrit are credited with being primarily responsible for raising artistic standards at the Opéra, and the roles in which she excelled came to be known as "falcon soprano" parts. 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 Stradella.

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 Mikhailovsky Theatre in St. Petersburg. Cornélie was enrolled at the Paris Conservatory from 1827 to 1831. There she first studied with Felice Pellegrini and François-Louis Henry, and later with Marco Bordogni and Adolphe Nourrit. She won a second prize in solfège in 1829, a first prize in vocalization (vocalisation) in 1830, and a first prize in singing (chant) in 1831.

At the invitation of Nourrit she made her debut at the age of 18 at the Opéra as Alice in the 41st performance of Meyerbeer's Robert le diable (20 July 1832). The cast included Nourrit and Julie Dorus (who had premiered the role in 1830). The director of the Opéra, Louis Véron, had made certain there was plenty of advance publicity, and the auditorium was packed. The audience included the composers Rossini, Berlioz, Cherubini, Halévy, and Auber, the singers Maria Malibran, Caroline Branchu, and Giulia Grisi, and two of France's greatest actresses from the Comédie-Française, Mademoiselle Mars and Mademoiselle Georges. Other audience members included the painters Honoré Daumier and Ary Scheffer, the librettist Eugène Scribe, and the critics and writers Théophile Gautier, Alexandre Dumas, Victor Hugo, and Alfred de Musset. Although understandably suffering from stage fright, Falcon managed to sing her first aria without error, and finished her role with "ease and competence." Her tragic demeanor and dark looks were highly appropriate to the part, and she made a vivid impression on the public.

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