(b Paris, 6 Feb 1801; d Paris, 25 Feb 1863). French soprano. She studied the piano at the Paris Conservatoire and singing with Charles-Henri Plantade. Angelica Catalani devised her stage name of Cinti by italianizing her middle name, and she made her operatic début at the Théâtre Italien in Una cosa rara (8 January 1816). After the collapse of Catalani's management in 1818, Cinti was re-engaged the following year when a new company was formed at the Théâtre Louvois. There her roles included Cherubino and Rosina, and in 1822 John Ebers engaged her for a season at the King's Theatre, London. Her mastery of florid singing, acquired by emulating her colleagues at the Théâtre Italien, led in 1825 to her engagement at the Paris Opéra where she remained until 1835, apart from an interruption in the summer of 1827, when she left to sing in Brussels and married the tenor V. C. Damoreau (1793–1863). She created the principal soprano roles in Gioachino Rossini's Le siège de Corinthe (1826), Moïse (1827), Le comte Ory (1827) and Guillaume Tell (1829), and Elvire in Daniel Auber's La muette de Portici (1829) and Isabelle in Giacomo Meyerbeer's Robert le diable (1831). Although she was the Opéra's most highly paid singer, she accepted a more attractive offer from the Opéra-Comique, where from 1836 to 1841 she appeared in a succession of new operas by Auber. In 1844 she toured America with the violinist Alexandre Artôt, and continued to sing in concerts until 1848. She taught singing at the Paris Conservatoire (1833–56) and published a Méthode de chant (1849), other singing manuals and some songs. Her voice, outstanding for its purity of tone and intonation, was likened to a perfect piano, and her ornamentation was stylish and varied. She was a Rossini rather than a Meyerbeer singer, lacking Falcon's emotional and dramatic power; but she successfully redirected her career elsewhere when Falcon threatened to eclipse her at the Opéra.
From The Grove Book of Opera Singers in Oxford Reference.