A Dictionary of Music and Musicians/Garcia
GARCIA, a Spanish family of musicians, who have been well characterised as 'representative artists, whose power, genius, and originality have impressed a permanent trace on the record of the methods of vocal execution and ornament' (Chorley). The founder of the family, Manuel del-Popolo-Vicente, was born at Seville Jan. 22, 1775. Beginning as a chorister in the Cathedral at the age of 6, at 17 he was already well known as composer, singer, actor, and conductor. By 1805 he had established his reputation at home, and his pieces—chiefly short comic operas—were performed all over Spain. He made his début in Paris, Feb. 11, 1808, in Paër's 'Griselda,' singing in Italian for the first time. Within a month he had become the chief singer at that theatre. In 1809 he produced his 'Poeta calculista,' originally brought out at Madrid in 1805. In 1811 he set out for Italy. At Naples Murat appointed him (1812) first tenor in his chapel. There he met Anzani, one of the best tenors of the old Italian school, by whose hints he profited largely. There also, still combining the rôles of singer and composer, he produced his 'Califo di Bagdad,' which obtained an immense success. In 1815 Rossini wrote for him one of the principal rôles in 'Elisabetta,' and in 1816 that of Almaviva. About the end of 1816 he returned from Naples to England, and thence to Paris, where he revived his 'Califo,' and produced 'Le Prince d'occasion,' and sang in Catalani's troupe, where he made a great hit as Paulino in the 'Matrimonio Segreto.' Annoyed by Catalani's management, he left Paris for London about the end of 1817. In the ensuing season he sang in the 'Barbiere' with Mme. Fodor, and in other operas, with much éclat. In 1819 he returned to Paris, and sang in the 'Barbiere,' not till then heard there. There he remained till 1823, performing in 'Otello,' 'Don Giovanni,' etc., and composing 'La mort du Tasse' and 'Florestan' for the Grand Opèra, besides 'Fazzoletto' at the Italians, 'La Meunière' at the Gymnase, and 3 others which never reached the stage. In the spring of 1823 he re-appeared in London, where he was still a most effective singer (Ebers). Here he founded his famous school of singing. He sang in London again in 1824 in 'Zelmira' and 'Ricciardo e Zoraide.' In the same year his 'Deux contrats' was given at the Opéra Comique. In 1825 he was here again, his salary having risen from £260 (1823) to £1250. He continued to gain still greater fame by teaching than by singing, and his fertility as a composer was shown by at least 2 Italian operas, 'Astuzia e prudenza' and 'Un Avertimento.' The education of his illustrious daughter Marie, subsequently Mme. Malibran, was now completed, and under his care she made her debut. [See Malibran.] He then realised the project he had long entertained of founding an opera at New York, and set out with that object from Liverpool, taking with him an Italian company, which included the young Crivelli as tenor, his own son Manuel and Angrisani, De Rosich, Mme. Barbieri, Mme. Garcia, and his daughter. At New York he produced no less than 11 new Italian operas in a single year. In 1827 he went to Mexico, where he brought out 8 operas, all apparently new. After 18 months' stay, he set out to return with the produce of this hard toil; but the party was stopped by brigands, and he was denuded of everything, including nearly £6000 in gold.
Garcia now returned to Paris, where he reappeared at the Italiens. He then devoted himself to teaching; and died June 2, 1832. Garcia was a truly extraordinary person. His energy, resource, and accomplishments may be gathered from the foregoing brief narrative. His singing and acting were remarkable for verve and intelligence. He was a good musician, and wrote with facility and effect, as the list of his works sufficiently shows. Fétis enumerates no less than 17 Spanish, 19 Italian, and 7 French operas. Words and music seem to have been alike easy to him. His most celebrated pupils were his daughters Marie—Mme. Malibran, and Pauline—Mme.Viardot, Mmes. Rimbault, Ruiz-Garcia, Meric-Lalande, Favelli, Comtesse Merlin; Adolphe Nourrit, Géraldy, and his son Manuel Garcia.
Manuel Garcia was born at Madrid, March 17, 1805. His education began early, and at 15 he received instruction in harmony from Fétis, and in singing from his father. In 1825 he accompanied his father to America. Once more in Paris (1829) he quitted the stage, and devoted himself to teaching. A little later he undertook a serious scientific enquiry into the conformation of the vocal organs, the limits of registers, and the mechanism of singing; of which the results were two—(1) his application of the Laryngoscope, the value of which is now universally recognised by physicians and artists, and (2) his 'Mémoire sur la voix humaine,' presented to the French Institut in 1840, which obtained for him the congratulations of the Academy, and may be said to be the foundation of all subsequent investigations into the voice. Appointed professor of singing at the Conservatoire, he published in 1847 his 'Traité complet de l'art du chant, en 2 parties,' 4to, which has been translated into Italian, German, and English, and has gained world-wide reputation. Among his pupils may be mentioned Mmes. Jenny Lind, Catherine Hayes, and Henriette Nissen (afterwards Mme. Saloman), and M. Bataille. In 1850 Garcia resigned his position at the Conservatoire, and came to London. He is still a Professor at the Royal Academy of Music and one of the leading teachers of singing in London. [See also Malibran, and Viardot.]