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See also: Elizabeth Felix, the daughter of poor
See also: Jew pedlars, was See also: born on the 28th of See also: February 1821, at Mumpf, in the See also: canton of See also: Aargau, See also: Switzerland
.
At See also: Reims she and her elder See also: sister, See also: Sophia, after-wards known as Sarah, joined a troupe of See also: Italian See also: children who made their living by singing in the cafes, Sarah singing and Elizabeth, then only four years of age, See also: collecting the coppers
.
In 183o they came to See also: Paris, where they sang in the streets, See also: Rachel giving such patriotic songs as the Parisienne and the Marseillaise with a See also: rude but precocious energy which evoked See also: special admiration and an abundant shower of coppers
.
Etienne Choron, a famous teacher of singing, was so impressed with the talents of the two sisters that he undertook to give them gratuitous instruction, and after his See also: death in 1833 they were received into the Conservatoire
.
Rachel made her first appearance at the Gymnase in See also: Paul Duport's La Vendeenne on the 4th of See also: April 1837, with only mediocre success
.
But on the 12th of See also: June in the following See also: year she succeeded, after See also: great difficulty, in making a debut at the Theatre See also: Francais, as Camille in Corneille's Horace, when her remarkable See also: genius at once received general recognition
.
In the same year she played Roxane in Racine's Bajazet, winning a See also: complete See also: triumph, but it was in Racine's Phedre, which she first played on the 21st of See also: January 1843, that her See also: peculiar gifts were most strikingly manifested
.
Her range of characters was limited, but within it she was unsurpassable
.
She excelled particularly in the impersonation of evil or malignant passion, in her presentation of which there was a majesty and dignity which fascinated while it repelled
.
By careful training her See also: voice, originally hard and harsh, had become flexible and melodious, and its low and muffled notes under the influence of passion possessed a thrilling and penetrating quality that was irresistible
.
In plays by contemporary authors she created the characters of See also: Judith and See also: Cleopatra in the tragedies of Madame de Girardin, but perhaps her most successful appearance was in 1849 in Scribe and Legouve's Adrienne See also: Lecouvreur, which was written for her
.
In 1841 and in 1842 she visited See also: London, where her interpretations of Corneille
and Racine were the sensation of the season
.
In 1855 she made a tour in the See also: United States with comparatively small success, but this was after her See also: powers, through continued See also: ill-See also: health, had begun to deteriorate
.
She died of See also: consumption at Cannet, near See also: Nice, on the 4th of January 1858, and was buried in the Jewish See also: part of the cemetery of Pere Lachaise in Paris
.
Rachel's third sister was Lia Felix (q.v.)
.
See Jules G
.
See also: Janin, Rachel et la tragedie (1858) : Mrs Arthur Kennard, Rachel (See also: Boston, 1888) ; and A. de Faucigny-Lucinge, Rachel et son temps (1910)
.
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