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Updated: May 31, 2025
A craving for such sort of admiration from unthinking crowds turned her aside from the true path of her art, where she might have reached the top peak of greatness, and has handed down her memory a shining beacon rather than as a model to her successors. Greatness of Genius overcoming Disqualification. The Characteristic Lesson of Pasta's Life. Her First Appearance and Failure.
Velluti had disfigured his performance by introducing a perfect cascade of roulades and fiorituri, but Pasta's delivery of the music, while inspired by her great tragic sensibility, was marked by such breadth and fidelity that many thought they heard the music for the first time. A ludicrous story is told of the first performance in London.
I went to the opera the other night and saw Pasta's "Medea" for the first time. I shall not trouble you with any ecstasies, because, luckily for you, my admiration for her is quite indescribable; but I have seen grace and majesty as perfect as I can conceive, and so saying I close my account of my impressions.
Pasta's singing and acting alone made the work successful, for at the outset it was not warmly liked by the public. Several years afterward in London she also saved the work from becoming a fiasco, the singular fact being that "Norma," now one of the great standard works of the lyric stage, took a number of years to establish itself firmly in critical and popular estimation.
Pasta's second great part at the Theatre Italien was in Rossini's "Tancredi," an impersonation which was one of the most enchanting and finished of her lighter rôles. "She looked resplendent in the casque and cuirass of the Red Cross Knight. No one could ever sing the part of Tancredi like Mine.
"Well, ma'am," said the waiting-maid, "you did everything so badly that the people were always shouting and storming at you, and making you do it all over again." There are situations even worse than Pasta's, as Pauline Lucca has recently discovered in Vienna, where she was fined fifty florins for violating the law which forbids the recognition of applause.
On reaching Vauxhall Bridge, the concert to commence with Madame Pasta's grand scena in "Medea," previous to the murder of the children, by Miss Corinna Grouts. 2. Nicholson's grand flute concerto in five sharps, by Mr. Frederick Snodgrass. 3. Grand aria, with variations, guitar, by Miss Euphemia Grouts. 4. Sweet Bird; accompaniment, flute obligato, Miss C. G. and Mr. F. S. and 5.
Though, voluminous both in serious and comic opera, it was in the latter that he won his chief laurels. His "Pazza per Amore" was one of the great Pasta's favorites, and Catalani added largely to her reputation in the part of La Frascatana. Several of Paisiello's comic operas still keep a dramatic place on the German stage, where excellence is not sacrificed to novelty.
The production of "Tancredi" and of Zingarelli's "Romeo e Giulietta" followed as the vehicles of Pasta's genius for the pleasure of the English public, and the season was closed with "Semiramide," in which her regal majesty seemed to embody the ideal conception of the Assyrian queen.
"And yet," said Violet, "I do not like Othello to be profaned. It is not for operas and ballets. We require the thrilling words." "It is very true; yet Pasta's acting in the opera was a grand performance; and I have myself seldom witnessed a more masterly effect produced by any actor in the world than I did a fortnight ago, at the Opera at Darmstadt, by Wild in Othello."
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