the deaf and angry Geronimo, or as Oroveso in 'Norma'; but at other times his voice could 'roar as sweetly as any sucking dove,' and he could use its accents for comic, humorous, tender, or sorrowful effects, with equal ease and mastery.
Like Garrick, and other great artists, Lablache shone as much in comic as in tragic parts. Nothing could exceed his Leporello; of that character he was doubtless the greatest known exponent. But he had, at an earlier date, played Don Giovanni. As Geronimo, the Podestà in 'La Gazza Ladra,' again, in 'La Prova d'un' Opera Seria,' as Dandini and the Barone di Montefiascone, he was equally unapproachable; while his Henry VIII. in 'Anna Bolena,' his Doge in 'Marino Faliero,' and Oroveso in 'Norma,' were splendid examples of dignity and dramatic force. He appeared for the first time in Paris, Nov. 4, 1830, as Geronimo in the 'Matrimonio Segreto,' and was there also recognised immediately as the first basso cantante of the day. He continued to sing in Paris and London for several years; and, it may be mentioned that his terms were in 1828, for four months, 40,000 frs. (£1,600), with lodging and one benefit-night clear of all expenses, the opera and his part in it to be chosen by himself on that occasion, as also at his début. The modest sum named above, in no degree corresponding with the value of Lablache in an operatic company, was a few years later (1839) the price paid by Laporte to Robert, to whom Lablache was then engaged at Paris, for the mere cession of his services to the London Opera.
In 1833 Lablache sang again at Naples, renewing his triumphs in the 'Elisire d'amore ' and 'Don Pasquale.' He returned to Paris in 1834, after which he continued to appear annually there and in London, singing in our provincial festivals as well as at the Opera, for many years. In 1852 he sang at St. Petersburg with no less éclat than elsewhere. In London, near the close of his career, at a time when most artists are liable to become dull and mechanical, he broke out into the personification of two beings as different from each other and from the types hitherto represented by him as Shakspere's Caliban and Scribe's Calmuck Gritzonko, in 'L'Étoile du Nord,' with a vivacity, a profound stage-knowledge, and a versatility, which were as rare as they were strongly marked (Chorley). But he had qualities as sterling as others which were fascinating. Whether in comic opera, in the chromatic music of Spohr, or in that of Palestrina, he seemed equally at home. Let it be never forgotten that he sang (April 3, 1827) the bass solo part in Mozart's Requiem after the death of Beethoven, as he had, when a child, sung the contralto part at the funeral of Haydn; and let the former fact be a sufficient answer to those who say he had no notes lower than A or G. Be it recorded, at the same time, that he paid Barbaja 200 guldens for the operatic singers engaged on that occasion. He was also one of the 32 torch-bearers who surrounded the coffin of Beethoven at its interment. To him, again, Schubert dedicated his three Italian songs (op. 83), written to Metastasio's words, and composed in 1827, showing thus his appreciation of the powers of the great Italian.
In 1856, however, his health began to fail, and he was obliged in the following spring to drink the waters of Kissingen, where he was met and treated with honour by Alexander II. of Russia. Lablache received the medal and order given by the Emperor with the prophetic words, 'These will do to ornament my coffin.' After this he returned for a few days in August to his house at Maisons-Laffitte, near Paris; but left it on the 18th, to try the effect of his native climate at his villa at Posilipo. But the bright, brisk air was too keen for him, and he had to take refuge in Naples. The relief, however, served only to prolong his life a short while, and he died Jan. 23, 1858. His remains were brought to Paris, and buried at Maisons-Lafitte.
Lablache had two sisters, the elder of whom became Marchesa de Braida, and the younger Abbess of Sessa. He had many children, among whom Frederick, the eldest son, followed his father's steps, but not with the same success. The youngest is an officer in the French army. Of his daughters, one married the great pianist, Thalberg. A Méthode de chant, written by Lablache, was published chez Mme. Vve Canaux, at Paris; but it rather disappointed expectation.
Lablache died, as he had lived, respected by every one who knew him for his honourable, upright probity, as he was admired for his marvellous and cultivated talents.
He was the Queen's singing master, and the esteem and even affection which that intercourse engendered are expressed more than once in warm terms in her Majesty's published Diaries and Letters.
LAC DES FÉES, LE. Opera in 5 acts; words by Scribe and Mélesville, music by Auber. Produced at the Grand Opera April 1, 1839. The overture alone has survived.
LACHNER, a prominent musical family of this century. The father was an organist at Rain, on the Lech, in Bavaria, very poor and with a very large family, but not the less a man of worth and character. He was twice married. One of the first family, Theodor, born 1798, [App. p.694 "died May 22, 1877."] was a sound musician, but unambitious, who ended his career as organist at Munich, and chorus-master at the Court theatre. The second family were more remarkable. Of the daughters, Thekla, born 1803, was recently organist of S. George's church, Augsburg, and Christiane, born 1805, held the same post in her native place, Of the brothers, Franz was born April 2, 1804. He was solidly educated in other things beside music, but music was his desire, and in 1822 he prevailed on his parents to let him go to Vienna. He put himself under Stadler and Sechter, and was constantly in Schubert's company, with whom he became very intimate. In 1826 he was made Vice-Kapellmeister of the Kärnthnerthor theatre, and the next year, on the death [App. p.694 "retirement"] of Weigl, principal Kapellmeister. He retained this post till 1834, and it was a time of great productivity. In
