Nourrit received a good classical education, and was then placed in the Conservatoire, where he received a most thorough training in the science of music, as well as in the art of singing.  It was said of him in after-years that he was able to write a libretto, compose the music to it, lead the orchestra, and sing the tenor role in it, with equal facility.  His first appearance was in Gluck’s “Iphigenie en Tauride,” in 1821, his age then being nineteen.  Gifted with remarkable intelligence and ambition, he worked indefatigably to overcome his defects of voice, and perfect his equipment as an artist.  Manuel Garcia, the most scientific and exacting of singing teachers, was the maestro under whom Nourrit acquired that large and noble style for which he became eminent.  He soon became principal tenor at the Academie, and created all of the leading tenor roles of the operas produced in France for ten years.  Among these may be mentioned Neocles in “La Siege de Corinthe,” Masaniello in “La Muette de Portici,"Arnold in “Guillaume Tell,” Leonardo da Vinci in Ginestell’s “Francois I,” Un Lnconnu in “Le Dieu et la Bayadere,” Robert le Diable, Edmond in “La Serment,” Nadir in Cherubini’s “Ali Baba,” Eleazar in “La Juive,” Raoul in “Les Huguenots,” Phobus in Bertini’s “La Esmeralda,” and Stradella in Niedermeyer’s opera.

Nourrit gave a distinct stamp and a flavor to all the parts he created, and his comedy was no less refined and pleasing than his tragedy was pathetic and commanding.  He was idolized by the public, and his influence with them and with his brother artists was great.  He was consulted by managers, composers, and authors.  He wrote the words for Eleazar’s fine air in “La Juive,” and furnished the suggestions on which Meyerbeer remodeled the second and third acts of “Robert le Diable” and the last act of “Les Huguenots.”  The libretti for the ballets of “La Sylphide,” “La Tempete,” “L’ile des Pirates,” “Le Diable Boiteux,” etc., as danced by Taglioni and Fanny Elssler, were written by this versatile man, and he composed many charming songs, which are still favorites in French drawing-rooms.  It was Nourrit who popularized the songs of Schubert, and otherwise softened the French prejudice against modern German music.  In private life this great artist was so witty, genial, and refined, that he was a favorite guest in the most distinguished and exclusive salons.  When Duprez was engaged at the opera it severely mortified Nourrit, and, rather than divide the honors with a new singer, he resigned his position as first tenor at the Academie, where he so long had been a brilliant light.  His farewell to the French public, April 1, 1837, was the most flattering and enthusiastic ovation ever accorded to a French artist, but he could not be induced to reconsider his purpose.  He was professor of lyric declamation at the Conservatoire, but this position,