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Updated: June 28, 2025
I, who recollected Pasta, Malibran, Grisi, Rubini, and others of that epoch, could not help agreeing with him when I compared them to the singers I heard at the Pergola and elsewhere. The theatre, too, was good at Bologna, and we frequently went to it. One evening we were sitting on the balcony of the hotel, when we saw a man stab another in the back of the neck, and then run away.
Sketch of Malibran and her Family. The Various Artistic Journeys of Malibran and De Bériot. Their Marriage and Mme. de Bériot's Death. De Bériot becomes Professor in the Brussels Conservatoire. His Later Life in Brussels. His Son Charles Malibran de Bériot. The Character of De Bériot as Composer and Player.
It follows therefore that the highest phase of human emotion can only be expressed by that art which gives us simultaneously the living form of a Venus de Milo with the colouring of a Titian, the grace of a Nautch girl, the miracle-working powers of a Hindu fakir, the elocution of a Demosthenes, and the voice of a Malibran."
Malibran had established herself so firmly in the admiration of the Parisian world, she accepted an engagement for the summer months with La-porte of the King's Theatre in London. She made her début in the character of Desdemona, a part which had already been firmly fixed in the notions of the musical public by the two differing conceptions of Pasta and Sontag.
Scarcely twenty-one years of age, nearly penniless, with no letters of introduction to people who could help him, but with boundless hope and resolution, he first set foot in Paris in 1831. The town was agog over Paganini and Mme. Malibran, and of course the first impulse of the young artist was to hear these great people.
Mademoiselle Nilsson is the only prima donna since her day who has at all reminded me of Sontag, who was lovely to look at, delightful to listen to, good, amiable, and charming, and, compared with Malibran, like the evening star to a comet.
Music was not the sole accomplishment in which she became skilled. Unassisted by teaching, she, like Malibran, learned to sketch and paint in oil and water-colors, and found many spare moments in the midst of an incessant art-training, which looked to the lyric stage, to devote to literature.
Nearly all outside of Germany shared Frederick the Great's prejudice against German singers. Yet when she appeared in Paris, in spite of hostile anticipation, in spite of her reserve, timidity, and coldness on the histrionic side of her art, she soon made good her place by the side of such remarkable artists as Mme. Pasta and Maria Malibran.
Went to the Théâtre Italien last night, and saw Malibran in la Cenerentola, in which her acting was no less admirable than her singing. She sang "Non più Mesta" better than I ever heard it before, and astonished as well as delighted the audience. She has a soul and spirit in her style that carries away her hearers, as no other singer does, and excites an enthusiasm seldom, if ever, equalled.
Viardot's entrance on her lyric career, yet bore such relation to the Garcia family as to make a brief account of this gifted artist appropriate under this caption. Adolphe Nourrit, of whom the French stage is deservedly proud, was the pupil of Manuel Garcia, the intimate friend of Maria Malibran, and the judicious adviser of Pauline Viardot in her earlier years.
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