Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: May 31, 2025
Her Rosina in Rossini's great comic opera was a piquant and attractive performance. The prevalence of the Lind fever, which seemed to know no abatement, however, made a London engagement at this period not highly flattering to other singers, and Mlle. Cruvelli beat a retreat to Germany, where she made a musical tour.
Donizetti, who was Sigismondi's pupil, also tells an amusing incident of his preceptor's disgust. He was turning over a score of "Semiramide" in the library, when the maestro came in and asked him what music it was. "Rossini's," was the answer. Sigismondi glanced at the page and saw 1. 2. 3. trumpets, being the first, second, and third trumpet parts.
Marcia at once proposed a duet to conclude the entertainment, Rossini's Mira bianca luna, a piece for which she had reserved her force, and in which she could display the best qualities of her voice and style. Greenleaf had a high and pure tenor voice; he exerted himself to support her, and with some success; the duet was a fitting close to a delightful and informal concert.
Clara was more gifted; in addition to a great deal of musical feeling, and a fine rich touch on the piano, she possessed a particularly sympathetic voice, the development of which was so premature and remarkable that, under the tuition of Mieksch, her singing master, who was famous at that time, she was apparently ready for the role of a prima donna as early as her sixteenth year, and made her debut at Dresden in Italian opera as 'Cenerentola' in Rossini's opera of that name.
Over the opposite square the moon hung, and to the right there stretched a long street, filled with a diminishing array of lamps, some single, some in clusters, among them an occasional blue or red one. From a corner came the notes of a piano-organ strumming out a stirring march of Rossini's. The shadowy black figures of pedestrians moved up, down, and across the embrowned roadway.
After dinner they were left alone; Masha did not know what to say, she sat down to the piano; her fingers flitted hurriedly and tremblingly over the keys; she was continually stopping and waiting for the first word... Lutchkov did not understand nor care for music. Masha played some brilliant variations on one of Rossini's airs.
French connoisseurs laughed at the idea of this German barbarian for some of the critics were rude enough to use this harsh term becoming the rival of Pasta, Cinti, and Fodor, and the idea of her singing Rossini's music seemed purely preposterous. On the 15th of June, 1826, she made her bow to the French public.
The stiff and stately Oublicheff confesses, with many compunctions of conscience, that, when listening for the first time to one of Rossini's operas, he forgot for the time being all that he had ever known, admired, played, or sung, for he was musically drunk, as if with champagne.
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.
With great earnestness and pathos she rendered the final "to be at rest," lingering long on the "Amen." Then she began one of Mozart's symphonies, and from it glided away into favourite selections from Rossini's "Moïse."
Word Of The Day
Others Looking