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Updated: May 6, 2025
This part was for years regarded as standing to her what Medea was to Pasta, Norma to Grisi, Fidelio to Malibran and Schröder-Devrient, and it was only when she herself made a loftier flight as Fides in "Le Prophète" that this special connection of the part with the artist ceased. Her genius always found a more ardent sympathy with the higher forms of music.
Besides those I have mentioned we had a numerous acquaintance who were neither learned nor scientific; and at concerts at some of their houses I enjoyed much hearing the great artists of the day, such as Pasta, Malibran, Grisi, Rubini, &c., &c. We knew Lucien Buonaparte, who gave me a copy of his poems, which were a failure.
Sontag was her rival, Pasta was yet in the height of her fame, but no contrasts whatever dimmed the glory of Malibran. A rare personal charm added to her artistic graces. Mr.
An amateur singer, describing to her father the great success she had achieved at her first concert, concluded by saying, "Some Italians even took me for Pasta." Pasta herself is the heroine of an amusing anecdote. She gave her servant, a simple contadina, an order for the opera on a night when she appeared in one of her greatest parts.
But Lucien, to the joy and surprise of his old love, honored her with inattention; her words fell unheeded on his ears; he sat like Pasta in Tancredi, with the words O patria! upon her lips, the music of the great cavatina Dell Rizzo might have passed into his face. Indeed, Coralie's pupil had contrived to bring the tears to his eyes. "Oh!
But the genius of Pasta made them forget even this, and London bowed at her feet with as devout a recognition as that offered by the more fickle Parisians. Her chaste and noble style, untortured by meretricious ornament, excited the deepest admiration.
Every attitude, each movement and look, became a study for a painter; for in the storm of furious passion the grace and beauty of her gestures were never marred by extravagance. Indeed, her impersonation of Medea was one of the finest illustrations of classic grandeur the stage has ever presented. In the scene where Medea murders her children, the acting of Pasta rose to the sublime.
In the midst stood a cross. Each family who came to the feast, brought a little table, and placed it before the cross; and on each table, there were loaves, and a sort of bread called "pasta." There was a blazing fire on the green, round which the elder women sat, while the younger preferred the shade of a thicket.
Bell-like in quality and ever true, this voice lacked feeling, and while it never failed to awaken unbounded enthusiasm, it rarely, if ever, brought a thrill of deeper emotion. Giuditta Pasta, who became the lyric Siddons of her age, began her career as an artist laboring under many disadvantages, for she lacked a graceful personality and possessed a voice of but moderate power and sweetness.
Italy had continued its reputation as the home of music, and now, as in the eighteenth century, Italian singers, men and women, were wearing the laurel in all the capitals of Europe. Among the women who were thus celebrated the best known were Grassini, Catalani, Pasta, and Alboni.
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