This article explores a slice of the careers of two ‘rival’ coloratura singers – the Swedish soprano Christine Nilsson and the French soprano Caroline Miolan Carvalho – during the period 1867 to 1870, and considers the internationalisation of singing careers, women's choices and negotiation of their career paths, and fortunes made and lost. With both singers employed at the Paris Opéra from November 1868 onwards as Gounod's Faust went into rehearsal, the focus falls on the ‘Battle of the Marguerites’ in the Parisian press in spring 1869, which raised heated questions of dramatic and vocal interpretation and style, often linked to cultural stereotypes, as well as artistic legitimacy and stature. Through examination of previously overlooked archival financial and legal records, this article also reveals for the first time that Miolan Carvalho was indentured to the director of the Opéra Emile Perrin during this period.

中文翻译：

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不同的雏菊：卡罗琳·米奥兰·卡瓦略、克里斯汀·尼尔森和玛格丽特，1869

本文探讨了两位“竞争对手”花腔歌手——瑞典女高音克里斯蒂娜·尼尔森和法国女高音卡罗琳·米奥兰·卡瓦略——在 1867 年至 1870 年间的职业生涯，并考虑了歌唱事业的国际化、女性的选择和她们的谈判。职业道路，财富的产生和失去。从 1868 年 11 月起，两位歌手都受雇于巴黎歌剧院，担任古诺的浮士德进入排练阶段，焦点落在了 1869 年春天巴黎报刊上的“玛格丽特之战”上，这引发了戏剧性和声乐诠释和风格的激烈问题，这些问题通常与文化刻板印象以及艺术合法性和地位有关。通过对以前被忽视的档案财务和法律记录的审查，本文还首次揭示了米奥兰·卡瓦略在此期间与埃米尔·佩兰歌剧院的董事签订了契约。