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Sophie Johanne Charlotte Crüwell, vicountess Vigier, stage name Sophie Cruvelli (12 March 1826 – 6 November 1907) was a German opera singer. She was a dramatic soprano who had a brief but stellar public career especially in London and Paris in the middle years of the 19th century.〔Georges Favre, ''Une grande Cantatrice Niçoise: La Vicomtesse Vigier (Sophie Cruvelli) 1826-1907'' (Éditions A. et J. Picard, Paris 1979).〕 She was admired for her vocal powers and as a tragédienne. Both Verdi and Meyerbeer created operatic roles with the intention that she should first perform them.〔This article uses some information derived from German Wikipedia, where the sources are generally but not specifically attributed.〕 ==Origins and training== Sophie Crüwell was the daughter of a Protestant Bielefeld family〔Most sources say her father was a Protestant minister, but some call hers a 'merchant family': Dagmar Gieseke, Public Archivist of Bielefeld (Stadtarchiv und Landesgeschichtliche Bibliothek), states that Cruvelli's father was a ''Tabak-fabrikant'' (see external link).〕 of comfortable means. She showed an early disposition towards music, and she and her sister Marie (later a mezzo-soprano) and her brother (later a baritone) were encouraged and assisted to training by the family.〔G. T. Ferris, ''Great Singers Series 2'', 'Sophie Cruvelli' (Appelton and Co., New York 1891) (Ferris on Cruvelli complete at Gutenberg )〕 Sophie and Marie commenced their vocal studies with Louis Spohr in Kassel.〔Stated in German Wikipedia: source not specified.〕 In 1844 their mother took the girls to Paris to continue their studies, first with Francesco Piermarini, and then with the distinguished tenor Marco Bordogni.〔Ferris, ''Great Singers''.〕 Bordogni thought highly of Sophie: it is said that he allowed her to sing only scales and solfeggi which he composed for her, for two whole years. After that time mother Crüwell wanted to remove her, saying that she had learnt scales enough and that if she was going to do nothing else she might as well get married and give it up. Bordogni persuaded mother that she would have a wonderful career, and that she should go on to complete her studies in Milan.〔Ferris, 'Sophie Cruvelli'.〕 A first public appearance in January 1846 was reported in the musical journal ''Revue et Gazette Musicale de Paris''.〔(According to article in German Wikipedia).〕 In Milan she first went to audition with the impresario Bartolomeo Merelli, but was so struck with fright that she could not produce any sound at all. After this she resolved to return to Bielefeld: but the (later famous) teacher Francesco Lamperti took the situation in hand, and under his guidance her voice and powers returned and flourished.〔Charles E. Pearce, ''Sims Reeves - Fifty Years of Music in England'' (Stanley Paul, 1924), p. 160-61 (footnote).〕 Some sources〔(E.g. Elizabeth Forbes, 'Sophie Cruvelli' (short biography) )〕 attribute her debut to Venice at La Fenice, as Odabella in Verdi's ''Attila''. She appeared in that role at Udine on 24 July 1847, and later as Lucrezia in ''I due Foscari'' in the same theatre. Later in 1847 she was singing Odabella in Rovigo, and it was there, at the end of that year, that Benjamin Lumley heard and ('struck with the splendid voice, the impulsive dramatic temperament, the spirit, and the captivating person') recruited her for the season of 1848 at Her Majesty's Theatre in London, of which he was the impresario. The family objected that she was too young to face the English public, but Lumley was urged to proceed by the tenor Rubini: 'I tell you plainly, and with deep conviction, that you are making an excellent acquisition. A most beautiful voice - give her good models and a good maestro'. Sophie herself was delighted with the proposals. In the winter of 1847 she made several appearances at La Fenice.〔Benjamin Lumley, ''Reminiscences of the Opera'' (London, Hurst and Blackett 1864), 204-05, 211. ()〕 Cruvelli, who was becoming a distinctly striking and beautiful woman, developed a reputation for romantic eccentricity. It was related〔Told by the critic Maurice Halperson, cited in Alan Walker (Ed), ''Living with Liszt: from the diary of Carl Lachmund, an American pupil of Liszt, 1882-1884'' Issue 4 of Franz Liszt studies series: Volume 4 of Dance & Music (2nd Edn, Pendragon Press, 1995), ISBN 0-945193-56-4, p. 29 and note 6.()〕 that she was one of those young women who followed Franz Liszt 'from city to city, attending his concerts in a front row seat, much to his annoyance. Her prima donna rivals had nicknamed her "Mme. Hinterlist" - meaning both "after Liszt" and "perfidious".' If the depth of her friendship with Liszt was unproven, her relations with the married singer Agardi Metrovich are more directly in evidence.〔Letter (60) of Helen Blavatsky referring to Metrovich's statement that Cruvelli was his mistress. ()〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Sophie Cruvelli」の詳細全文を読む スポンサード リンク
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