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Updated: June 25, 2025
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.
The production of "Tancredi" and of Zingarelli's "Romeo e Giulietta" followed as the vehicles of Pasta's genius for the pleasure of the English public, and the season was closed with "Semiramide," in which her regal majesty seemed to embody the ideal conception of the Assyrian queen.
She broke down utterly, turning away from the piano with a sob, and, flinging out her hands in a despairing gesture, cried out that she could not sing, that she never should be able to sing and that she might as well go. Tancredi was too much used to the emotions of the geniuses and near-geniuses, whose temperamental outbreaks she had learned by heart, not to understand what was the matter.
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