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Updated: May 21, 2025
According to Fetis and Castil-Blaze, he never had a superior in stage declamation, and the finest actors of the Comédie Française might well have taken a lesson from him. His first great success, which caused his engagement in grand opera, was the creation of Edgardo in "Lucia di Lammermoor" at Naples in 1835.
Learning from Lucy what she has done, he tramples the contract under foot, hurls an imprecation upon the house of Lammermoor, and bursts out of the room in a terrible rage. Sir Henry follows him, and a fierce quarrel ensues, which ends in a challenge. Meanwhile, at night, after the newly wedded couple have retired, a noise is heard in their apartment.
We passed the mouth of the river Tyne, south of which stands Dunbar. The next place of interest we came off was Fast Castle, of which two tall towers remain close to the cliffs, in former days the stronghold of the Homes. It is supposed to be the original of Wolfs Crag in The Bride of Lammermoor.
Moreover, those who have read his manly autobiography know that this speed was by no means all "ease," as witness the almost tragic composition of The Bride of Lammermoor. If ever a writer scorned delights and lived laborious days, it was Walter Scott.
Wanting weight and power and passion for such parts as Norma, Medea, Semiramide, etc., she was perfect in the tenderer and more pathetic parts of Amina, Lucia di Lammermoor, Linda di Chamouni; exquisite in the Rosina and Carolina of the "Barbiere" and "Matrimonio Segreto;" and, in my opinion, quite unrivaled in her Countess, in the "Nozze," and, indeed, in all rendering of Mozart's music, to whose peculiar and pre-eminent genius hers seemed to me in some degree allied, and of whose works she was the only interpreter I ever heard, gifted alike with the profound German understanding of music and the enchanting Italian power of rendering it.
The genius of Dickens shines most clearly in his opening pages, and his right to be ranked with Juvenal as a satirist could be easily established by the first chapter of "Martin Chuzzlewit." Sir Walter Scott would rank as one of the world's greatest wits if he had never written anything but the exploits of "Dick Pinto," which serve as an introduction to "The Bride of Lammermoor."
"He looks like the Bride of Lammermoor," I declared, as he went forth in this regalia. "Well, that's preferable to looking like a pest-house patient, as he did yesterday." His first-aid costume didn't find favor with the landlady, as it would seem indicative to the newly arrived of the features of the place.
Her mother alone did not feel that distinguished and predominating affection with which the rest of the family cherished Lucy. She regarded what she termed her daughter's want of spirit as a decided mark that the more plebeian blood of her father predominated in Lucy's veins, and used to call her in derision her Lammermoor Shepherdess.
The next moment he was swinging by his arms. The moment after he shot over the balustrade into the box. Then the conductor, seeing that the incident was over, raised his baton. The house was hushed, and Lucia di Lammermoor resumed her song of madness and death.
It has been said, I do not know on what authority, that the poet had no recollection of composing Sir Galahad, any more than Scott remembered composing The Bride of Lammermoor, or Thackeray parts of Pendennis. The haunting of Tennyson's mind by the Arthurian legends prompted also the lovely fragment on the Queen's last Maying, Sir Launcelot and Queen Guinevere, a thing of perfect charm and music.
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