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Updated: May 31, 2025
But Truth will always answer to the appeal of Truth. Dismal as was the spectacle broken, hoarse, and destroyed as was the voice the great style of the singer spoke to the great singer. The first scene was Ann Boleyn's duet with Jane Seymour. The old spirit was heard and seen in Madame Pasta's Sorgi! and the gesture with which she signed to her penitent rival to rise.
Does it not form your taste, and rouse dormant memories? In a concert-room there may be a thousand souls; a strain is flung out from Pasta's throat, the execution worthily answering to the ideas that flashed through Rossini's mind as he wrote the air. That phrase of Rossini's, transmitted to those attentive souls, is worked out in so many different poems.
"If you want a success," said Nathan, "instead of screaming, 'He is saved! like a Fury, walk on quite quietly, go to the staircase, and say, 'He is saved, in a chest voice, like Pasta's 'O patria, in Tancreda. There, go along!" and he pushed her towards the stage. "It is too late," said Vernou, "the effect has hung fire." "What did she do? the house is applauding like mad," asked Lousteau.
She never was taught to act at all; and though there are many faults in her performance of Juliet, there is more power than in any female playing I ever saw, except Pasta's Medea. She is not handsome, rather short, and by no means delicately formed; but her face is marked, and the eyes are brilliant, dark, and full of character.
Ebers tells us in his "Seven Years of the King's Theatre": "Nothing could have been more free from trick or affectation than Pasta's performance. There is no perceptible effort to resemble a character she plays; on the contrary, she enters the stage the character itself; transposed into the situation, excited by the hopes and fears, breathing the life and spirit of the being she represents." Mme.
Pasta's illness caused the substitution of Schröder-Devrient in her place in the opera of "Anna Bolena," and the result was disastrous to the German singer. But she retrieved herself in the same composer's "Pirata," and her splendid performance cooperated with that of Rubini to produce a sensation.
The house was very fine, and a pleasanter audience than the first night. Found a letter from Mrs. Jameson after the play, with an account of Pasta's "Anna Bolena." How I wish I could see it! Wednesday, August 3d. Rose at seven, and went down to the sea to bathe.
Pasta's Medea, created by herself musically and dramatically out of the faded and correct commonplace of Simon Mayer's opera, was fitted with consummate skill to that eminent artist's idiosyncrasies, and will ever remain one of the grand traditions of the musical world.
I should indeed be a great actress if at any time I could find a gesture expressing profound misery with such truth." Pasta's next remarkable impersonation was that of Armando in "Il Crociato in Egitto," written by Meyerbeer for Signor Velluti, the last of the race of male sopranos.
Madame Pasta's daughter once said to Charles Young, who enthusiastically admired her great genius, "Vous trouvez qu'elle chante et joue bien, n'est-ce pas?" "Je crois bien," replied he, puzzled to understand her drift.
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