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Updated: June 9, 2025
He is the Rossini of song; he is the greatest singer I ever heard." Lord Byron, in one of his letters to Moore, speaks of the first production at Milan, and praises the music enthusiastically, while condemning the libretto as a degradation of Shakespeare. "La Cenerentola" and "La Gazza Ladra" were written in quick succession for Naples and Milan.
A strikingly pessimistic tale, only less good than "Mr. Incoul." There is superb writing in these pages, many delightful passages. La Cenerentola and Lucrezia Borgia are mentioned in passing. The pictures which Gerome, Cabanel, Bouguereau, and the acolytes of these pastry-cooks exposed were stupid and sterile as church doors." This required courage in 1888.
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.
A distinction was made between the greater and lesser vair. Lately one of our most distinguished poets was obliged to establish the true orthography of the word for the instruction of his brother-feuilletonists in giving an account of the opera of the "Cenerentola," where the symbolic slipper has been replaced by a ring, which symbolizes nothing at all.
The French public felt a strong curiosity to hear the sister of Mali-bran, and it was richly rewarded, for the magnificent style in which she sang her parts in "Otello," "La Cenerentola," and "Il Barbiere" stamped her position as that not only of a great singer, but a woman of genius.
Kubini was the Otello, Tamburini, Iago, and Lablache, Elmiro. Her performance in "La Cenerentola" confirmed the good opinion of the public. Her pure taste and perfect facility of execution were splendidly exhibited. "She has," said a critic, "more feeling than Mme.
That evening, while I was playing the overture to Cenerentola, for the entertainment of my cousin, there arose from the tea-table, where she and my father were sitting, a spirited and rather angry harangue from Lady Knollys' lips; I turned my eyes from the music towards the speakers; the overture swooned away with a little hesitating babble into silence, and I listened.
She sang again in Paris in 1828, appearing in "La Cenerentola" as a novelty, though the music had to be transposed for her. Malibran was singing the same season, and a bitter rivalry sprang up between the blonde and serene German beauty and the brilliant Spanish brunette.
In short, it fared so ill with the poor girl, bad to-day and worse to-morrow, that she was at last brought down from the royal chamber to the kitchen, from the canopy of state to the hearth, from splendid apparel of silks and gold to dishclouts, from the sceptre to the spit. And not only was her condition changed, but even her name, for, instead of Zezolla, she was now called Cenerentola.
The first opera produced was "Il Barbiere," on November 29, 1825, and this was speedily followed by "Tancredi," "Otello," "Il Turco in Italia," "Don Giovanni," "Cenerentola," and two operas composed by Garcia himself "L'Amante Astuto," and "La Figlia dell' Aria," The young singer's success was of extraordinary character, and New York, unaccustomed to Italian opera, went into an ecstasy of admiration.
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