MARIA FELICIA MALIBRAN.
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
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