The latter--a pretty girl of about twenty or twenty-two years, active and lively, the true SOUBRETTE of a great lady--jumped from the step upon which, according to the custom of the time, she was seated, and took her way toward the terrace upon which D'Artagnan had perceived Lubin.
D'Artagnan followed the soubrette with his eyes, and saw her go toward the terrace; but it happened that someone in the house called Lubin, so that Planchet remained alone, looking in all directions for the road where D'Artagnan had disappeared.
'For your master.' I have no other master but you; so- a pretty little lass, my faith, is that SOUBRETTE!"
The conversation between Milady and the cavalier was so animated that D'Artagnan stopped on the other side of the carriage without anyone but the pretty SOUBRETTE perceiving his presence.
The pretty SOUBRETTE cast an anxious glance at D'Artagnan, whose good looks seemed to have made an impression on her.
She is making the tour du monde entirely alone, without even a soubrette
to carry the ensign, for the purpose of seeing for herself a quoi s'en tenir sur les hommes et les choses- -on les hommes particularly.
"Today you'll only find me playing a soubrette
in the shower, singing an aria in an Acura, or concluding a Cadenza in a Corolla.
Travers said Poppins was "already beloved for what she was--plain, vain and incorruptible--(and now) transmogrified into a soubrette
."She added: "And how was it that Mary Poppins herself, the image of propriety, came to dance a can-can on the roof-top displaying all her underwear?
Twentieth-century casting practices further complicate this picture, with Marguerite often cast as a fuller lyric soprano (perhaps in line with the Falcon designation) and Siebel as a mezzo-soprano (as opposed to the more soubrette
Dugazon soprano type).
And then we come to Zerbinetta, soubrette
leader of the Commedia players, masterminding their improvisations whilst giving the suffering Ariadne her pragmatic philosophy on life and men.
She referred to herself as a soubrette
, which is not a term you hear often.
This chamber piece, whose difficulty calls for a conductor, was first performed by the Society for Modern Music in Prague in 1930, with Karel Ancerl conducting and soubrette
Nelly Gaierova singing, and then again in Prague a year later, this time in Radiojournal, conducted by Otakar Jeremias and sung by Czech contemporary music expert Masa Fleisherova.