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very well in opera, though she was never counted as belonging to the absolute elite. It was her dramatic talent as a stage actress she was given the highest praise. The critics appreciated that her hard French accent gave her speech power and energy, and she was admired for the impression of passionate strength she eluded.
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She belonged to the pioneer generation of the Royal
Dramatic Theatre. When the first Swedish language Ristell theater (1787–88) went bankrupt and transformed by the king to the Royal Dramatic Theatre in 1788, Marie Louise Marcadet and the other actors formed a board of directors and managed the new
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Marcadet was not regarded to be beautiful and described as a very thin woman with a protruding chin to her appearance, but regarded as an competent singer and a marvelous actor. As an opera singer, she was estimated to have a moderately good voice, but handled with such skill that she functioned
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mentioned her importance in
Swedish theater and opera history in the 19th century, during a discussion about the employment of foreign artists, when he pointed out that several of the artists during the foundation of the Royal Swedish Opera and the Royal Dramatic Theatre had been foreigners:
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theater themselves. This management has been described as stormy, but
Marcadet was praised for her judgement in the voting about which plays to stage in the theater. The financial arrangements and employment conditions at the royal theater illustrate that Marie Louise Marcadet and
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Marie Louise
Marcadet was engaged as an opera singer at the Royal Swedish Opera in 1778-95, and as a dramatic stage actress at the French theater in 1781-92, and at the Royal Dramatic Theatre in 1788-95. She made her debut at the Royal Swedish Opera in
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14 November 1795, in which she had expressed her wish to "receive the encouragement of the public, which she had so beneficially been granted during her career", and made "a startling success by the praise given to her from an overwhelmed audience."
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Marie Louise
Marcadet performed both as an opera singer and a stage actress and was regarded as one of the most noted stage artists in Sweden during her twenty years long career. Marie Louise Marcadet, alongside Jaques Marie Boutet de Monvel,
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upon his succession to the throne. She returned to Sweden with her parents in 1776, and performed with some of the French actors of the old theater, which entertained the
Swedish royal court in a smaller scale, until a new
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She had an influential position at the opera. On the occasion of her marriage, she was given the opportunity to stage her own production as a benefit performance, which was somewhat controversial and criticized by
313:, who noted as criticism toward the opera manager Barnekow, that she: "acted as a director of the performance, which he should have done, disposed of the loges, auctioned them off, so that prime minister
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Hilleström, Gustaf: Kungl. Musikaliska akademien: matrikel 1771-1971, Nordiska musikförlaget, Stockholm 1971, Publikationer / utgivna av Kungl. Musikaliska akademien, 99-0168608-3 ; 10 (swe).
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lost his loge for not being the highest bidder... it was given to a cook and a chancellor. Such indecency could not be allowed by anyone but this opera management."
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in
Stockholm, and she was trained as a stage artists by them. The Baptiste family left Sweden in 1771, when the French theater was dissolved by
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Nordensvan, Georg, Svensk teater och svenska skådespelare från Gustav III till våra dagar. Förra delen, 1772-1842 Bonnier, Stockholm, 1917
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Nordensvan, Georg, Svensk teater och svenska skådespelare från Gustav III till våra dagar. Förra delen, 1772-1842 Bonnier, Stockholm, 1917
759:Österberg, Carin, Lewenhaupt, Inga & Wahlberg, Anna Greta, Svenska kvinnor: föregångare nyskapare, Signum, Lund, 1990 1990 (Swedish)
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by the same composer. She was also active as a stage actress. When a new French theater was founded in 1781, directed by
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Oscar
Levertin: Teater och drama under Gustaf III, Albert Bonniers förlag, Stockholm, Fjärde Upplagan (1920).
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Oscar
Levertin: Teater och drama under Gustaf III, Albert Bonniers förlag, Stockholm, Fjärde Upplagan (1920).
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Johan
Flodmark: Stenborgska skĂĄdebanorna: bidrag till Stockholms teaterhistoria, Norstedt, Stockholm, 1893
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After this farewell performance, Marie Louise Marcadet left Sweden for France, where she died in Paris.
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Carin Österberg: Svenska kvinnor: Föregångare, nyskapare (Swedish women: Predecessors, pioneers) 1990
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Klas Åke Heed, Ny svensk teaterhistoria. Teater före 1800, Gidlunds förlag (2007)
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Klas Åke Heed, Ny svensk teaterhistoria. Teater före 1800, Gidlunds förlag (2007)
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Marie Louise Marcadet was born in Sweden as the daughter of the French actors
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in the beginning of the 1780s, until the year of 1800, when the school of
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and Jacques Anselme Baptiste. Her parents where both engaged at the
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and a dramatic stage actress of French origin. She was active in the
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in the 1777–78 season, and was later the same year acclaimed in
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by Grétry that "her entire soul was created for the Theater."
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called her acting divine, and considered her acting divine,
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was given the highest position of all women actors there.
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747:Kungliga teaterns repertoar 1773-1973 , 1974
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263:In 1780, she married a French dancer at the
212:(3 December 1758 – 28 February 1804) was a
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69:"Marie Louise Marcadet"
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27:Swedish opera singer
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47:verification
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783:1804 deaths
773:1758 births
605:Mrs Karsten
596:Mrs Augusti
529:, 1793–94.
499:Gustaf Wasa
235:from 1795.
164:Stockholm,
767:Categories
659:2007-12-03
624:References
574:Mrs MĂĽller
533:Later life
519:Inga Ă…berg
515:Gustav III
487:Andromaque
334:Estimation
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371:(1780).
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110:July 2018
668:cite web
609:Mrs Olin
598:and the
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483:Piccinni
451:Monsigny
406:Voltaire
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210:Baptiste
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422:Athalie
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179:Paris,
94:scholar
601:Polish
593:German
591:, the
585:German
579:French
576:, the
570:Danish
549:Legacy
471:(with
453:(with
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410:Oedipe
402:Merope
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298:Lucile
293:Grétry
271:Career
196:Spouse
181:France
166:Sweden
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239:Life
208:née
173:Died
154:Born
73:news
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