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Updated: June 9, 2025
Pasta essayed the daring experiment of singing and playing the rôle of the Moor, Mile. Sontag singing Desdemona. Though the transposition of the music from a tenor to a mezzo-soprano voice injured the effect of the concerted pieces, the passionate acting redeemed the innovation.
She wiped her hands on the roller towel, and unpinned the little plaid shawl drawn tightly across her shoulders, Its removal disclosed a green sontag, and under that manifold layers of jacket and waist. She was amply protected from the cold. "I dunno's I ought to ha' stirred up rye'n' Injun," she went on, returning to her vigorous tossing and mixing at the table.
The career of Henrietta Sontag, born at Cob-lenz on the Rhine in 1805, the child of actors, was so picturesque in its chances and changes that had she not been a beautiful and fascinating woman and the greatest German singer of the century, the vicissitudes of her life would have furnished rich material for a romance.
Malibran's romantic attachment to M. Charles de Bériot, the famous Belgian violinist, had its beginning. M. de Bériot had been warmly and hopelessly enamored of Malibran's rival, Mdlle. Sontag, in spite of the fact that the latter lady was known to be the fiancée of Count Rossi.
Sontag made her first appearance before the London public in the character of Mosina in Rossini's "Il Barbiere," a part peculiarly suited to the grace of her style and the timbre of her voice. One of her biographers thus sketches the expectations and impressions of the London public: "Since Mrs.
Sontag was indebted for the blooming of those dormant qualities which had till then remained undeveloped. The ease with which she sang was perfectly captivating; and the neatness and elegance of her enunciation combined with the sweetness and brilliancy of her voice and her perfect intonation to render her execution faultless, and its effect ravishing.
Camilla’s instrument was the violin. She could sing with more than ordinary skill and in perfecting her phrasing and in improving her style in vocal music Madam Sontag insensibly improved her violin music. All of Camilla’s music was examined by the great singer and in those stray hours picked up between the demand of concerts and travel much of art and happiness was enjoyed.
Sontag, and her rejection of him threw him into a state of despondency, from which it required the brilliancy and wit of Malibran to rouse him. De Bériot left a number of compositions which abound in pleasing melodies, have a certain easy, natural flow, and bring out the characteristic effects of the instrument in the most brilliant manner.
Malibran had established herself so firmly in the admiration of the Parisian world, she accepted an engagement for the summer months with La-porte of the King's Theatre in London. She made her début in the character of Desdemona, a part which had already been firmly fixed in the notions of the musical public by the two differing conceptions of Pasta and Sontag.
Jenny Lind was one whose submission to these pretensions did much to ensure her popular success; whereas Sontag considered that her rank as Countess Rossi elevated her above such considerations.
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