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Updated: April 30, 2025
During the season of six months she succeeded in establishing her place as one of the most brilliant singers of the age. She sang in cooperation with many of the foremost artists whose names are among the great traditions of the art. In "Don Giovanni," Rubini and Tamburini appeared with her; in "Anna Bolena," Mme. Tadolini, Santini, and Rubini. Even in Pasta's own great characters, where Mlle.
Many of our readers, doubtless, have witnessed Pasta's wonderful performance in Anna Bolena, who also may remember Anna's exclamation, "Giudici ad Anna! ad Anna giudici!" when Henry's intention of bringing her to trial is first made known to her.
Pasta returns to Italy and devotes herself to Study. Her First Great Successes in 1819. Characteristics of her Voice and Singing. Chorley's Review of the Impressions made on him by Pasta. She makes her Triumphal Début in Paris. Talma on Pasta's Acting. Her Performances of "Giulietta" and "Tancredi." Medea, Pasta's Grandest Impersonation, is given to the World. Description of the Performance.
During this time her English reputation stood at its highest point. No one had ever appeared on the English stage who commanded such exalted artistic respect and admiration. Ebers tells us, speaking of her last engagement before going to Italy: "At no period of Pasta's career had she been more fashionable.
Then we had flute-playing by the first flute-player in England, and pianoforte-strumming by the first pianoforte-strummer in England, and singing by all the first singers in England, and Signor Rubini's incomparable tenor, and Signor Curioni's incomparable counter-tenor, and Pasta's incomparable expression.
Her opening performance was that of Desdemona, in which Mme. Malibran also appeared during the same season, thus affording the critics an opportunity for comparison. It was admitted that the younger diva had the advantage in vocalization and execution, but that Pasta's conception was incontestably superior, and her reading of the part characterized by far greater nobility and grandeur.
I fancied I was slightly disappointed in Taglioni, whose dancing followed Pasta's singing, but I suppose the magnificent tragical performance I had just witnessed had numbed as it were my power of appreciation of her grace and elegance, and yet she seemed to me like a dancing flower; so you see I must have like her very much. God bless you, dear; pray write to me very soon.
Her long coal black tresses were dressed high on her head, which was bound round with the everlasting Madras handkerchief, in which pale blue was the prevailing colour; but it was elegantly adjusted, and did not come down far enough to shade the fine development of her majestic forehead Pasta's in Semiramide was not more commanding.
When I sing for you, I will sing very differently." Mme. Malibran, buoyed up on the passionate enthusiasm of the French public, essayed the most wonderful and daring flights in her song. She appeared as Desdemona, Rosina, and as Romeo in Zingarelli's opera characters, of the most opposing kind and two of them, indeed, among Pasta's masterpieces.
We have now reached a period of Pasta's life where its chronicle becomes painful. It is never pleasant to watch the details of the decadence which comes to almost all art-careers. Her warmest admirers could not deny that Pasta was losing her voice. Her consummate art shone undimmed, but her vocal powers, especially in respect of intonation, displayed the signs of wear.
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