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Updated: May 12, 2025
The operas in which she made the most vivid impression were "Norma," "Les Huguenots," "Lucrezia Borgia," "Le Nozze di Figaro," "Fidelio," and "Trovatore"; and her versatility was displayed in the fact that when she was called on, through the illness of another singer, to assume a comic part, she won golden opinions from the public for the sparkle and grace of her style. The English manager, Mr.
Accepting the lists of the last two decades as a criterion, "Don Giovanni" is the oldest Italian opera, save one. That one is "Le Nozze di Figaro," and it may, therefore, be said that Mozart's operas mark the beginning of the repertory as it exists at the present time in America.
But if this be so, it may be asked, Who shall be found worthy to act Cherubino on the stage? You cannot have seen and heard Pauline Lucca, or you would not ask this question. Cherubino is by no means the most important person in the plot of the Nozze. But he strikes the keynote of the opera.
On the other hand, when he heard Francesco Cavalli's opera, 'Le Nozze di Teti e di Peleo, he said the Capellmeister had borrowed the most sublime ideas from his own immortal works; for saying which he had a narrow escape of cudgellings, or even of knife-thrusts.
The selection of music comprises Beethoven's overture to "Egmont;" an air from the "Elijah," first time in America, sung by Jenny Lind; "Non piu andrai," from Mozart's "Nozze di Figaro," by Signor Belletti; piano solo, Mendelssohn's "Songs without Words," by Signor Benedict; and, for the first time in America also, "Und ob die Wolke," from "Der Freischutz," by Jenny Lind. This was the first part.
He rails against the whole sex in the air, beginning: "Aprite un po' quegl' occhi?" in the last act. The orchestra stops, all but the horns, which with the phrase It is a pity that the air is often omitted, for it is eloquent in the exposition of the spirit of the comedy. The merriest of opera overtures introduces "Le Nozze di Figaro," and puts the listener at once into a frolicsome mood.
The descendants of Beaumarchais fought for the same concession, and not very long ago it was decided that the translators and arrangers of "Le Nozze di Figaro" for the Théâtre Lyrique must share their receipts with the living representatives of the author of "Le Mariage de Figaro."
Not merely did she go through the entire range of her old parts, Susanna, Moslna, Desdemona, Donna Anna, etc., but she presented herself in a number of new works which did not exist at her farewell to the stage Bellini's "Sonnambula," Donizetti's "Linda," "La Figlia del Reggimento," "Don Pasquale," "Le Tre Nozze" of Alary, and Ilalévy's "La Tempesta"; indeed, in the latter two creating the principal rôles.
He had his box at the opera and always occupied it during the season. And he enjoyed music of all kinds, not only the modern operas of Mascagni, Puccini and so on, but also the old music of Verdi, Donizetti and Bellini. I asked if he did not like Le Nozze di Figaro. He had never heard of it, nor of Don Giovanni, nor of Fidelio.
Among the parts she sang at this chrysalis period were Cherubino in the "Nozze di Figaro," Servilia in "La Clemenza di Tito," and the rôle of the pretended shrew in Ferrari's "Il Shaglio Fortunato." Mme. Pasta found herself at the end of the season a dire failure.
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