Great Singers, Second Series - Malibran To Titiens by George T. (George Titus) Ferris
page 92 of 185 (49%)
page 92 of 185 (49%)
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Without any embarrassment, she instantly improvised not merely the
ornament, but the melody, pouring out a flood of dazzling vocalization which elicited noisy enthusiasm. It was not Rossini's "Il Barbiere," but it was successful in arousing a most flattering approbation. It may be fancied, however, that, when she sang the _rĂ´le_ of _Rosina_ a second time, she knew the music as Rossini wrote it. III. Mlle. Garcia was now fairly embarked on the hereditary profession of her family, and with every prospect of a brilliant career, for never had a singer at the very outset so signally impressed herself on the public judgment, not only as a thoroughly equipped artist, but as a woman of original genius. But she temporarily retired from the stage in consequence of her marriage with M. Viardot, who had fallen deeply in love with the fascinating cantatrice, shortly after his introduction to her. The bridegroom resigned his position as manager of the Opera, and the newly married couple, shortly after their nuptials in the spring of 1840, proceeded to Italy, M. Viardot being intrusted with an important mission relative to the fine arts. Mme. Viardot did not return to the stage till the spring of the following year. After a short season in London, in which she made a deep and abiding impression, in the part of _Orazia_ ("Gli Orazi ed i Curiazi"), and justified her right to wear the crown of Pasta and Malibran, she was obliged by considerations of health to return to the balmier climate of Southern Europe. While traveling in Spain, the native land of her parents, she was induced to sing in Madrid, where she was welcomed with all the warmth of Spanish enthusiasm. Her amiability was displayed during her performance |
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