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Updated: June 11, 2025
She was admitted to be a "woman of genius, peculiar, inasmuch as it is universal." Her English engagement at the Royal Italian Opera, in 1848, began with the performance of Amina in "La Sonnambula," and created a great sensation, for she was about to contest the suffrages of the public with a group of the foremost singers of the world, among whom were Grisi, Alboni, and Persiani. Mme.
Persiani never entered into any rivalry with those singers who were celebrated for their dramatic power, for this talent did not peculiarly stamp her art-work. But her impersonation of Lucia in Donizetti's opera was sentimental, impassioned, and pathetic to a degree which saved her from the reproach which was sometimes directed against her other performances lack of unction and abandon.
Chorley tells us how convincingly these rare and remarkable merits impressed themselves on him, "when, after a few years' absence from our stage, Mme. Persiani reappeared in London, how, in comparison with her, her younger successors sounded like so many immature scholars of the second class."
The principal members of the company who seceded from Her Majesty's Theatre were Mmes. Grisi and Persiani, Signor Mario, and Signor Tamburini. The new establishment was also strengthened by the accession of several new performers, among whom was Mlle. Alboni, the great contralto.
A charming compliment was paid by Malibran, who knew how to do such things with infinite taste and delicacy, to Persiani, when the latter lady was singing at Naples in 1835: while the representative of Lucia was changing her costume between the acts, a lady entered her dressing-room, and complimented her in warmest terms on the excellence of her singing.
The Italian Opera in Paris is considered to be managed with great perfection, the company is much the same with regard to the principal singers as our own, consisting of Grisi, Persiani, Albertazzi, Lablache, Tamburini, Rubini, Mario, etc., as they can be obtained, according to their engagements in London or elsewhere, and the operas performed are also similar, therefore any description of either would be superfluous; altogether, the enjoyment afforded is not so great as at our own, as no ballet is given, and the coup-d'oeil is not so splendid as in ours.
He had seen Tambourini, Rubini, Persiani, Grisi, and, compared with them, Lagardy, despite his grand outbursts, was nowhere. *Oh beautiful angel, my Lucie. "Yet," interrupted Charles, who was slowly sipping his rum-sherbet, "they say that he is quite admirable in the last act. I regret leaving before the end, because it was beginning to amuse me."
The transformation of Covent Garden Theatre into a spacious and noble opera-house in 1847, and the secession of the principal artists from Her Majesty's Theatre, were the principal themes of musical gossip in the English capital at that time. The artists who went over to the Royal Italian Opera were Mines, Grisi and Persiani, Mlle.
Early Talent shown by his Daughter Fanny. His Aversion to her entering on the Stage Life. Her Marriage to M. Persiani. The Incident which launched Fanny Persiani on the Stage. Rapid Success as a Singer. Donizetti writes one of his Great Operas for her. Personnel, Voice, and Artistic Style of Mme. Persiani. One of the Greatest Executants who ever lived. Anecdotes of her Italian Tours.
"It is no small risk to any vocalist to follow Malibran and Grisi in a part which they both played so well," was the observation of one critic, "and it is no small compliment to Persiani to say that she succeeded in it."
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