Great Singers, Second Series eBook

This eBook from the Gutenberg Project consists of approximately 209 pages of information about Great Singers, Second Series.


The Childhood of Maria Garcia.—­Her Father’s Sternness and Severe Discipline.—­Her First Appearance as an Artist on the Operatic Stage.—­Her Genius and Power evident from the Beginning.—­Anecdotes of her Early Career.—­Manuel Garcia’s Operatic Enterprise in New York.—­Maria Garcia is inveigled into marrying M. Malibran.—­Failure of the Garcia Opera, and Maria’s Separation from her Husband.—­She makes her Debut in Paris with Great Success.—­Madame Malibran’s Characteristics as a Singer, a Genius, and a Woman.—­Anecdotes of her Generosity and Kindness.—­She sings in a Great London Engagement.—­Her Eccentric and Daring Methods excite Severe Criticism.—­Her Reckless Expenditure of Strength in the Pursuit of her Profession or Pleasures.—­Madame Malibran’s Attachment to De Beriot.—­Anecdotes of her Public and Private Career.—­Malibran in Italy, where she becomes the Popular Idol.—­Her Last London Engagement.—­Her Death at Manchester during the Great Musical Festival

Wilhelmina SCHROeDER-Devrient.

Mme. Schroeder-Devrient the Daughter of a Woman of Genius.—­Her Early Appearance on the Dramatic Stage in Connection with her Mother.—­She studies Music and devotes herself to the Lyric Stage.—­Her Operatic Debut in Mozart’s “Zauberflote.”—­Her Appearance and Voice.—­Mlle. Schroeder makes her Debut in her most Celebrated Character, Fidelio.—­Her own Description of the First Performance.—­A Wonderful Dramatic Conception.—­Henry Chorley’s Judgment of her as a Singer and Actress.—­She marries Carl Devrient at Dresden.—­Mme. Schroeder-Devrient makes herself celebrated as a Representative of Weber’s Romantic Heroines.—­Dissolution of her Marriage.—­She makes Successful Appearances in Paris and London in both Italian and German Opera.—­English Opinions of the German Artist.—­Anecdotes of her London Engagement.—­An Italian Tour and Reengagements for the Paris and London Stage.—­Different Criticisms of her Artistic Style.—­Retirement from the Stage, and Second Marriage.—­Her Death in 1860, and the Honors paid to the Memory of her Genius


The Childhood of a Great Artist.—­Giulietta Grisi’s Early Musical Training.—­Giuditta Grisi’s Pride in the Talents of her Young Sister.—­Her Italian Debut and Success.—­She escapes from a Managerial Taskmaster and takes Refuge in Paris.—­Impression made on French Audiences.—­Production of Bellini’s “Puritani.”—­Appearance before the London Public.—­Character of Grisi’s Singing and Acting.—­Anecdotes of the Prima Donna.—­Marriage of Mlle. Grisi.—­Her Connection with Other Distinguished Singers.—­Kubini, his Character as an Artist, and Incidents of his Life.—­Tamburini, another Member of the First Great “Puritani” Quartet.—­Lablache, the King of Operatic Bassos.—­His Career as an Artist.—­His Wonderful Genius as Singer and Actor.—­Advent of Mario on the Stage.—­His Intimate Association with Mme. Grisi as Woman and Artist.—­Incidents of Mario’s Life and Character as an Artist.—­Grisi’s Long Hold on the Stage for more than a Quarter-century.—­Her American Tour.—­Final Retirement from her Profession.—­The Elements of her Greatness as a Goddess of Song

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Great Singers, Second Series from Project Gutenberg. Public domain.
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