"Conservatoire" Quotes from Famous Books
 ... fiancee, and when she is married I must be there to look after the old father. Lend Pixie to me, and she shall learn to speak French, the proper French, not that dreadful language of Holly House, and I will take her myself to the Conservatoire—there is no better place in the world to learn music than the Conservatoire in Paris—and she shall learn to sing and make use of that lovely voice. Voila, ma chere, at the end of a few years she comes back to you, and you will not know her! A young woman, ...
— Pixie O'Shaughnessy • Mrs. George de Horne Vaizey
... that they divert it from too great an absorption in material occupations; encourage in it a love for the beautiful; and thus act favourably on its manners, customs, morals, and even on its industry. It may be asked, what would become of music in France without her Italian theatre and her Conservatoire; of the dramatic art, without her Theatre-Francais; of painting and sculpture, without our collections, galleries, and museums? It might even be asked, whether, without centralisation, and consequently the support of the fine arts, that exquisite ...
— Essays on Political Economy • Frederic Bastiat
... correspondence to which I have referred, a good deal was said about the need for a dramatic conservatoire. If such an institution could be rooted in this country, I have no doubt that it might yield many advantages. Years ago I ventured to suggest that the municipal system might be applied to the theatre, as it is on the ...
— Modern Eloquence: Vol II, After-Dinner Speeches E-O • Various
... feel that the time has come for the establishment of such institutes. The demand exists on every side; the supply must come, and that speedily. England, France, and Germany are rapidly improving their manufactures by scientifically educating their master-workmen—the Conservatoire des Arts, and Ecole Centrale, of Paris, the art-schools of the British capital and provinces, the many museums devoted to scientic collection, are all keeping up their factories—shall we be behind them? Let Capital consult its interests, ...
— Continental Monthly, Vol. II. July, 1862. No. 1. • Various
... Fursch-Madi, a dramatic singer, who, although not attractive in appearance, was one of the finest singers in her style and most conscientious artists known to her period. She was a French woman, who was graduated from the Paris Conservatoire, married M. Madier, a chef d'orchestre in the French capital, came to America to join the French company in New Orleans in 1874, and sang for three seasons (1879-'81) at Covent Garden. She spent the last ...
— Chapters of Opera • Henry Edward Krehbiel
... goes back to 1820. According to the privilege accorded to the new stage under the Decazes ministry, it was to be only a gymnase composed of the young pupils of the Conservatoire, and other dramatic and lyric schools, and was authorized only to present fragments from the various repertories. But from the beginning it transgressed the limits set for it. Not content with simple pupils, it engaged actors already well known. In place of borrowing debris ...
— The Duchess of Berry and the Court of Charles X • Imbert De Saint-Amand
... Bavarian and his mother from Lorraine. He wrote innumerable operas. His most famous work, "La juive," written in 1835, was killed by Meyerbeer's "Huguenots," and produced a year later. He was professor of counterpoint at the Conservatoire from 1831, among his pupils being ...
— Critical & Historical Essays - Lectures delivered at Columbia University • Edward MacDowell |
