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When he reached his final run, he took a long breath, as if it devolved upon him to set in motion all the windmills in Montmartre, and started with a majestic fury; the first forty notes, while they did not resemble Mademoiselle Grisi's pearly tones, ascended and descended without any notable accident; but at the last stages of the descent, the singer's breath and voice failed him at the same moment, the "A" came out weak, the "G" was stifled, the "F" resembled the buzzing of a bee, and the "E" was absent!
Grisi was measured against the greatest lyric tragedienne of the age, the critics, keen to probe the weak spot of new aspirants, found points of favorable comparison in Grisi's favor. During this year, 1832, both Giuditta and Giulia Grisi retired from the stage, the former to marry an Italian gentleman of wealth, and the latter to devote a period to rest and study.
M. Robert, one of the managers, requested the intruder to retire, and, as the admonition was unheeded, Colonel Ragani, Grisi's uncle, somewhat sternly remonstrated with him.
Impression made on French Audiences. Production of Bellini's "Puritani." Appearance before the London Public. Character of Grisi's Singing and Acting. Anecdotes of the Prima Donna. Marriage of Mlle. Grisi. Her Connection with Other Distinguished Singers. Rubini, his Character as an Artist, and Incidents of his Life. Tamburini, another Member of the First Great "Puritani" Quartet.
Yes! surely this is the garden of Grisi's villa at Uxbridge; and her guests, quoting Lord Byron's 'al fresco, nothing more delicious, have tempted her to a daring by-show of her genius. To her left there is a stone cross, which has been draped by one of the guests with a scarf bearing the legend GISELLE. It is Sunday evening, I fancy, after dinner.
The buzz of admiration as he passed louder than in drawing-rooms more refined would have had sweeter music than Grisi's most artful quaver to a vainer man nay, once on a time to him. But sugar plums come too late! He gained the corner, and roused the solitary sitter. "My dear Mr. Hartopp, do you not remember me Guy Darrell?" "Mr.
To return once more to the consideration of Grisi's splendid career. The London season of 1839 was remarkable for the production of "Lucrezia Borgia." The character of the "Borgia woman" afforded a sphere in which our prima donna's talents shone with peculiar luster.
When he reached his final run, he took a long breath, as if it devolved upon him to set in motion all the windmills in Montmartre, and started with a majestic fury; the first forty notes, while they did not resemble Mademoiselle Grisi's pearly tones, ascended and descended without any notable accident; but at the last stages of the descent, the singer's breath and voice failed him at the same moment, the "A" came out weak, the "G" was stifled, the "F" resembled the buzzing of a bee, and the "E" was absent!
Anecdotes of a similar kind might be enumerated, for Grisi's womanly fascinations made havoc among that large class who become easily enamored of the goddesses of the theatre. Like all the greatest singers, Grisi was lavishly generous. She had often been known to sing in five concerts in one day for charitable purposes.
'Oh, mammal' said Lady Harriet, the youngest daughter of the house the prettiest, the most indulged; 'I cannot go; there is the water-party up to Maidenhead on the 20th, I should be so sorry to miss it: and Mrs. Duncan's ball, and Grisi's concert; please, don't want me. Besides, I should do no good. I can't make provincial small-talk; I'm not up in the local politics of Hollingford.
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