1797–1865, Italian Giuditta Pasta, who created the title role in Bellini’s Norma, was classed as a soprano, but was probably closer to a mezzo-soprano. On stage, she was majestic, and her acting was so powerful that, according to Stendhal, she ‘electrified the soul’. However, success did not come her way all that ...
derived from a comédie-vaudeville of 1819 and a ballet-pantomime of 1827, both part-written by the French dramatist Eugène Scribe. The title role, Amina, was created by Giuditta Pasta (1797–1865) who, though essentially a mezzo-soprano, performed brilliantly in the soprano range. Pasta was regarded as the greatest tragic singing actress of her day. Subsequently, Her Majesty’s ...
on the heels of his La sonnambula when its first performance was given at La Scala less than four months later, on 26 December 1831. Once again, Giuditta Pasta created the title role, although this time she had parts of the opera transposed down to the key of F where it catered more comfortably for her mezzo-soprano voice. ...
to sing top notes in falsetto. Another member of the group was Giovanni Battista Rubini (1794–1854), a one-time pupil of Nozzari’s. Introduction | Early Romantic | Opera Personalities | Giuditta Pasta | Early Romantic | Opera Houses & Companies | La Scala, Milan | High Romantic | Opera ...
elder daughter of Manuel Garcia and made her debut at age 17 singing in the chorus of the King’s Theatre in London. Shortly afterwards, she replaced the indisposed Giuditta Pasta as Rosina in Il barbiere di Siviglia. Malibran was a brilliant, charismatic performer and was so successful as Rosina that she sang the part for the remainder of the ...
, it lays foundation for his career 1829 Zaira is inaugural opera at Parma’s new Teatro Ducale 1830 I Capuleti e i Montecchi premieres in Venice, with soprano Giuditta Pasta 1831 Premiere of La sonnambula in Milan; Norma is greeted coolly at its premiere in Milan, but soon becomes a hallmark of the bel canto style 1833 Bellini visits ...
of Meyerbeer’s work, specifically Le prophète, was the French mezzo-soprano Pauline Viardot. Similarly, Bellini wrote leading roles for another great operatic soprano of the era, Giuditta Pasta (1797–1865), including Amina in La sonnambula and the title role in Norma. During the 1830s Pasta was recognized as the greatest soprano in Europe, appearing in many Rossini operas ...
were usually ascribed to natural gifts rather than the outcome of hard work and training, and their private lives were subject to intense media scrutiny. Early divas included Giuditta Pasta (1798–1865), who created the demanding title role in Bellini’s Norma, and the uninhibited Maria Malibran (1808–36). Malibran’s younger sister Pauline Viardot-Garcia (1821–1910) impressed many of the leading figures of ...
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