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Updated: June 9, 2025
As years perfected her excellence into its mellow prime, emotion and warmth animated her art work. But at the outset Mile. Sontag did little more than look lovely and pour forth such a flood of silvery and delicious notes, that the Italians called her the "nightingale of the North."
Undismayed by the traditions of Mali-bran, Pasta, and Sontag in this character, she gave the part a new reading, in which she put something of her own intense individuality.
Miss Dacre yielded to the public voice, and acted to the life the gratified and condescending air of a first-rate performer. Lord Mildmay called for Madame Dallington. Miss Dacre led on her companion as Sontag would Malibran. There was no wreath at hand, but the Duke of St.
If Sontag did not possess the highest genius of the lyric artist, she had un-equaled grace and sense of artistic propriety, and with that grace an untiring desire and energy in giving her very best to the public on all occasions when she appeared. Her constancy and loyalty to her audience were moral qualities which wonderfully enhanced her value and charm as a singer.
Madam Henrietta Sontag was at this time traveling in this country. She had given a series of very successful operatic performances in Boston and New York during the Winter and Spring, and proposed to make a concert tour through the West and South during the Fall and Winter. M. Urso while in New York received a letter from her agent inviting Camilla to join the troupe.
Berlin welcomed her with great warmth, and, though Cata-lani herself was among the singers at the theatre, Sontag fully shared her glory in the German estimation. The King made her first singer at his chapel, at a yearly salary of twenty-four thousand francs, and rich gifts were showered on her by her hosts of wealthy and ardent admirers.
Henrietta Sontag, the celebrated singer, heard him play Spohr's ninth concerto and "The Carnival of Venice," and was so charmed that she said he would become the German Paganini.
During the short period of these new performances at Her Majesty's Theatre, which was not equivalent to two complete Opera seasons, not merely did Madame Sontag go through the range of her old characters Susanna, Rosina, Desdemona, Donna Anna, and the like but she presented herself in seven or eight operas which had not existed when she left the stage Bellini's Sonnambula, Donizetti's Linda, La Figlia del Reggimento, Don Pasquale; Le Tre Nozze, of Signor Alary, La Tempesta, by M. Halévy the last two works involving what the French call 'creation, otherwise the production of a part never before represented.
Twenty-three succeeding concerts made Henrietta Sontag an idol of the Paris public, which she continued to be during her art career. She also appeared with brilliant distinction in opera, the principal ones being "Il Barbiere," "La Donna del Lago," and "L'Italiani in Alghieri." Her benefit-night was marked by a demonstration on the part of her admirers, and she was crowned on the stage.
I will not broach the question here, whether or not their language is the reason of it, and whether Mme. Sontag, Pischek, Tichatschek, Mlle. Lind, who is almost a German, and many others, do not form magnificent exceptions; but, upon the whole, German vocalists sing, and do not howl; the screaming school is not theirs; they make music."
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