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Updated: June 6, 2025
After 1841 Pasta retired from the stage, spending her winters at Milan, her summers at Lake Como, and devoting herself to training pupils in the higher walks of the lyric art.
Gérard, Delacroix, Isabey, Lany, Grévedon, and other distinguished artists, have contributed to this valuable collection. A fine portrait of Madame Pasta, and another of Talma, with two exquisite pictures of the mother of Mademoiselle Mars, not less remarkable for the rare beauty of the subject than for the merit of the artists, complete it.
"Don't be such a puritan," Juanito Pelaez said to him. "The end justifies the means! I know the seamstress, Matea, for she has a shop where a lot of girls work." "No, gentlemen," declared Isagani, "let's first employ decent methods. I'll go to Señor Pasta and, if I don't accomplish anything, then you can do what you wish with the dancing girls and seamstresses."
A queen of song who profoundly impressed her age was Giuditta Pasta, born near Milan in 1798, of Hebrew parentage. For her Bellini wrote "La Sonnambula" and "Norma," Donizetti his "Anna Bolena," Pacini his "Niobe," and she was the star of Rossini's leading operas of the time.
Her accents were so plaintive, so penetrating, so profoundly tragical, that no one could resist their influence. Her genius as a tragedienne surpassed her talent as a singer. When on the stage she was no longer Pasta, but Tancredi, Romeo, Desdemona, Medea, or Semiramide.
These dirty courts, filled with Jew money-lenders, sheriffs' officers, attorneys' runners, and a crowd of people who live by giving sham bail and taking false oaths, are not by any means such good subjects for a lady's correspondent as the Sculpture Gallery at Lansdowne House, or the conservatory at Holland House, or the notes of Pasta, or the talk of Rogers. But we cannot be always fine.
Could a Fate or an Angel have said to her, "Choose, on one side I promise you the glories of a Catalani, a Pasta, a Sappho, a De Stael, a Georges Sand, all combined into one immortal name; or, on the other side, the whole heart of the man who would estrange himself from you if you had such combination of glories," her answer would have brought Graham Vane to her feet.
Brilliant, creative, and versatile, she sang equally well in all styles of music, and no strain on her resources seemed to overtax the power of an artistic imagination which delighted in vanquishing obstacles and transforming native defects into new beauties, an attribute of genius which she shared in equal degree with Pasta, though it took on a different manifestation.
This bread was excellent, I must admit, and I ate it with great pleasure. "Unfortunately," I said, "this pasta won't stay fresh, so it seems pointless to make a supply for on board." "By thunder, sir!" Ned Land exclaimed. "There you go, talking like a naturalist, but meantime I'll be acting like a baker! Conseil, harvest some of this fruit to take with us when we go back."
The skill of Madame Pasta, and the building and decorations which aid the effect of her performance, contribute in the same way to the enjoyment of the audience, namely, an immediate way, without any intermediate instrumentality.
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