Maria Malibran the world's greatest singer

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  • Sydney Grew
    Banned
    • Mar 2007
    • 754

    Maria Malibran the world's greatest singer

    The most distinguished singer the world has ever seen, Maria Felicita Malibran, was born in 1808. At the age of five she played a child's part in Paër's "Agnese," at the "Fiorentini," Naples. So precocious was she that, after a few nights of this opera, she actually began to sing the part of "Agnese" in the duet of the second Act, a piece of audacity which was applauded by the public.

    She soon learned to speak fluently Spanish, Italian, French, English and German. In London as a nine-year-old she had good teaching on the piano, and made such rapid progress that she was able to play J. S. Bach's clavier-works. In this way she acquired sound taste in music.

    At the early age of fifteen she was made by her father to learn singing under his own direction; and, in spite of the fear which his violent temper inspired, she soon showed the individuality and originality of her genius. Two years had barely elapsed when, in 1824, Garcia allowed her to appear for the first time before a musical club which he had just established. There she produced a great sensation. From the first moment of her appearance she showed evident talents for the stage both as singer and actress. Her extreme youth, her prettiness, her pleasing voice, and sprightly easy action, as Rosina in 'Il Barbiere di Siviglia,' in which part she made her début, gained her general favour.

    We see clearly in this progress that the popularity of the female singer is a phenomenon more of excessive hetero-sexualism than of musical art do we not.

    Anyway, she rapidly "improved," and acquired confidence, experience, and the habit of the stage. She had scarcely made her début when the enthusiasm of the public knew no bounds; and, in the midst of her popularity, Garcia gave her in marriage to M. Malibran, an elderly and seemingly wealthy French merchant, in spite of her repugnance to the union. This marriage, celebrated on March the twenty-fifth, 1826, was as unhappy as it was ill-assorted; a year had hardly elapsed before the young wife found herself, on Malibran's bankruptcy, free to leave him, and she seized the opportunity.

    Her genius for dramatic singing was at once recognised, though her style was marred by a questionable taste in her choice of ornament. The public, at first doubting, soon welcomed her as a really great singer, and were particularly struck with wonder and delight at the novelty and originality of her style.

    In the season of 1829 Malibran made her reappearance in London, where she shared the applause of the public with Sontag, and the same result followed her singing with that artist at Paris in the autumn. She was principal soprano at the Gloucester Festival of 1829, and when engaged again at the Italian Opera in Paris in January 1830, she was paid frs. 1075 for each representation. This was less than she had received from Laporte in London, for he had given her frs. 13,333·33 a month, an odd sum, unless it meant frs. 40,000 for three months; and she stipulated to appear only twice a week, making each of those appearances cost frs. 1666·66, or about £66. Though she certainly continued to draw no higher salary at the Paris Opera in 1830 and 1831, and her charge for singing at private concerts in London, in 1829, was only twenty-five guineas, yet Alfred Bunn engaged her, soon after, for nineteen nights at £125 per night, payable in advance.

    Sontag, marrying and retiring from the stage early in 1830, left Malibran mistress of the field, and henceforth she had no rival, but continued to sing each season in London and Paris with ever-increased éclat. In 1830 an attachment sprang up between her and Charles de Bériot the violinist; and this ended only with her life. They built in 1831 a handsome villa at Ixelles, a suburb of Brussels, to which they returned after every operatic campaign.

    Malibran retired to Brussels in December 1832, and her son, Charles Wilfrid, was born on February the twelfth, 1833. In the following spring she came to London, and sang at Drury Lane, in English Opera, receiving frs. 80,000 for forty representations, with two benefits which produced not less than frs. 50,000. The prices offered to her increased each year to an unprecedented extent. She received at the Opera in London, during May and June 1835, £2775 for twenty-four appearances. Sums, the like of which had not been heard of before in such cases, were paid to her at the provincial festivals in England, and her last engagement at Naples was for frs. 80,000 for forty nights, with 2½ benefits, while that which she had accepted at Milan from the Duke Visconti, the director of La Scala, was, exclusively of some other profitable conditions, frs. 450,000 for 185 performances, viz. seventy-five in 1835-36, seventy-five in 1836-37, and thirty-five in the autumn of 1838.

    Her marriage was eventually annulled by the Courts at Paris, and on March the twenty-sixth, 1836, she married de Bériot, with whom she returned immediately to Brussels. It is noteworthy though that she chose to retain the Malibran name.

    In the following April, once more in London, Mme. Malibran de Bériot had a fall from her horse. She was dragged some distance along the road, and received serious injuries to her head, from which she never entirely recovered; but her wonderful energy enabled her for a time to disregard the consequences of this accident. In September she came to England again, for the Manchester Festival, - at which her short, brilliant life came to an end. She had arrived, with her husband, after a rapid journey from Paris, on Sunday, September the eleventh, 1836. On the following evening she sang in no less than fourteen pieces. On the Tuesday, though weak and ill, she insisted on singing both morning and evening. On Wednesday, the fourteenth, her state was still more critical, but she contrived to sing the last sacred music in which she ever took part, "Sing ye to the Lord," with thrilling effect; but that same evening her last notes in public were heard, in the duet, with Mme. Caradori Allan, "Vanne se alberghi in petto," from "Andronico." This was received with immense enthusiasm, the last movement was encored, and Malibran actually accomplished the task of repeating it. It was her last effort. While the concert-room still rang with applause, she was fainting in the arms of her friends; and, a few moments later, she was conveyed to her hôtel (the Mosley Hôtel, Manchester). Here she expired, after nine days of nervous fever, in the prostration which naturally followed upon the serious injuries her brain had received from the accident which had befallen her in the midst of a life of perpetual excitement. She expired on Friday, September the twenty-third, 1836, about twenty minutes before midnight, under the care of her own doctor, a homœopath, Belluomini, who had declined to act with the two regular physicians who had at first attended her. She was but twenty-eight years of age when she died.

    Two hours after her death de Bériot was, with Belluomini, in a carriage on his way to Brussels, to secure the property of his late wife.

    It is difficult to appreciate the charm of a singer whom one has never heard. In the case of Maria Malibran it is exceptionally difficult, for the charm seems to have consisted chiefly in the peculiarity of timbre and unusual extent of her voice, in her excitable temperament which prompted her to improvise passages of strange audacity upon the stage, and on her strong musical feeling which kept those improvisations nearly, but not quite, always within the bounds of good taste. That her voice was not faultless, either in quality or uniformity, seems certain. It was a contralto, having much of the soprano register superadded, and with an interval of dead notes intervening, to conceal which she used great ingenuity, with almost perfect success. It was, after all, her mind that helped to enslave her audience; without that mental originality her defective vocal organ would have failed to please where, in fact, it provoked raptures. The essence of slavery has always lain in the acquiescence of its victims has it not.
    Last edited by Sydney Grew; 25-09-11, 00:30.
  • Ventilhorn

    #2
    Originally posted by Sydney Grew View Post
    The most distinguished singer the world has ever seen, Maria Felicita Malibran, was born in 1808. At the age of five she played a child's part in Paër's "Agnese," at the "Fiorentini," Naples. So precocious was she that, after a few nights of this opera, she actually began to sing the part of "Agnese" in the duet of the second Act, a piece of audacity which was applauded by the public.

    It is difficult to appreciate the charm of a singer whom one has never heard. In the case of Maria Malibran it is exceptionally difficult, for the charm seems to have consisted chiefly in the peculiarity of timbre and unusual extent of her voice, in her excitable temperament which prompted her to improvise passages of strange audacity upon the stage, and on her strong musical feeling which kept those improvisations nearly, but not quite, always within the bounds of good taste.
    So what? Is this a late obituary or what? Are there any other message boarders who have even heard of, let alone heard this singer?

    Nothing at all to do with "Performance" on Radio 3 and a complete waste of forum space. (Unless you happen to possess a recently discovered CD or cylinder reel pre-electric recording, that is.)

    Phooey!

    VH
    Last edited by Guest; 24-09-11, 07:55.

    Comment

    • Flosshilde
      Full Member
      • Nov 2010
      • 7988

      #3
      It's really impossible to say who was the 'greatest' singer before modern recording techniques allowed us to compare singers who were not contemporaries. Even one's memory can be unreliable. Besides, the comments in the final paragraph suggest that she wasn't so much a great singer as a great artist - using that artistry to conceal a rather inadequate voice.

      The essence of slavery has always lain in the acquiescence of its victims has it not.
      That might be your experience, Syd, but I doubt that it's how most enslaved people feel.

      (Ventilhorn - I see that you have changed your mind - http://www.for3.org/forums/showthrea...othing-to-say-.... Or do you feel that your comments above are consistent with your statement that you will "only to give an opinion if specifically asked; in which case I will endeavour to be as objective as possible.

      Debate is one thing. Invective and argument is another.
      ")

      Comment

      • french frank
        Administrator/Moderator
        • Feb 2007
        • 30253

        #4
        Originally posted by Ventilhorn View Post
        Nothing at all to do with "Performance" on Radio 3 and a complete waste of forum space.
        A technical point that has arisen in association with Syd's prolix theses in the past: it's an even greater waste of forum space if members quote his entire post in their replies!
        It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.

        Comment

        • Ventilhorn

          #5
          Originally posted by french frank View Post
          A technical point that has arisen in association with Syd's prolix theses in the past: it's an even greater waste of forum space if members quote his entire post in their replies!
          Sorry, FF. You are quite right and I have edited my original post.

          (Ventilhorn - I see that you have changed your mind - http://www.for3.org/forums/showthrea...othing-to-say-.... Or do you feel that your comments above are consistent with your statement that you will "only to give an opinion if specifically asked; in which case I will endeavour to be as objective as possible.

          Debate is one thing. Invective and argument is another. ")
          Flosshilde: There is a difference between giving an opinion on a performance (which is supposed to be the subject of this thread) and introducing a long-winded account about a totally irrelevent person of two hundred years ago, whose "performances" are a matter of little interest.

          I shall continue to refrain from giving my opinion on the merits or otherwise of performances on Radio 3, but this sudden dive into the realms of history (and legend) needs to be commented on in my view.

          I refute the allegation that there was any trace of invective in my comments, but interpret them as you will.

          VH

          Comment

          • verismissimo
            Full Member
            • Nov 2010
            • 2957

            #6
            Good excuse to listen again to the Cecilia Bartoli CD of Malibran repertoire from 2007.

            Comment

            • PatrickOD

              #7
              A timely reminder, Sydney, as your piece was written on the anniversary of Maria Malibran's death.

              How good was she?

              ''.... in short, it's only here in Paris that one can understand what singing really is. Today it is definitely not la Pasta but la Malibran (Garcia) who is the queen of Europe... what a marvel!''
              F.Chopin, Paris 1831.

              The scores reveal a voice with a range of nearly three octaves (from the E below middle C to high C) tht seems to have been more distinctive in the extreme registers than in the middle. An abundance of virtuosic coloratura writing and significant leaps suggest that she had exceptional flexibility and perfect breath control...
              ...Despite a brief career of ten years, Malibrand sang a repertoire ranging from Baroque via Mozart to Rossini, Donizetti and particularly Bellini. Numerous works were composed for her and first performed by her, though hardly any are still known today...

              Cecilia Bartoli in her roles as scholar and performer, has made a CD, MARIA, with extensive notes, where she recreates Malibran's travels to London, New York, Paris, Brussels, Naples and Milan. I bought it some years ago, and it goes some way towards enabling me to say that la Malibran is not quite unknown to me.

              But surely, Sidney, everyone loves a true diva.

              ah, beaten to the post!

              Comment

              • french frank
                Administrator/Moderator
                • Feb 2007
                • 30253

                #8
                I thought you said this thread was closed, Patrick - as far as I know it isn't and hasn't been. If I close a thread I say so and, if it's not evident, explain why.
                It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.

                Comment

                • Don Basilio
                  Full Member
                  • Nov 2010
                  • 320

                  #9
                  Originally posted by Sydney Grew View Post
                  We see clearly in this progress that the popularity of the female singer is a phenomenon more of exessive hetero-sexualism than of musical art do we not.
                  Well, I've heard of her and it quite extraordinary for her to have made such a name for herself so very young. The early C19 prima donna I would like to have heard is Giuditta Pasta who created the role of Norma.

                  For the record, a large number of recent prima donnas have owed their success in large part to the adulation of male homosexualists, who can hardly be moved by their heroines erotic charms.

                  Comment

                  • mercia
                    Full Member
                    • Nov 2010
                    • 8920

                    #10
                    Maria died a year to the day after Bellini (not a lot of people know that)

                    Comment

                    • vinteuil
                      Full Member
                      • Nov 2010
                      • 12793

                      #11
                      Originally posted by Sydney Grew View Post
                      ... a phenomenon more of exessive hetero-sexualism ...
                      ... "exessive", Mr Grew? Are you sure?

                      Comment

                      • Dave2002
                        Full Member
                        • Dec 2010
                        • 18009

                        #12
                        VH (and others).

                        I think there was a programme about this one Saturday a few weeks ago - probably September 10th - could well have been on Radio 4. The lady in question died near Manchester. and was given a civic funeral. However her body was later exhumed and taken to Belgium. She was, apparently, very popular.

                        Comment

                        • Chris Newman
                          Late Member
                          • Nov 2010
                          • 2100

                          #13
                          Sid tells us:
                          It was a contralto, having much of the soprano register superadded,
                          Ah, Ella Fitzgerald or Cleo Laine, methinks.

                          Comment

                          • Sydney Grew
                            Banned
                            • Mar 2007
                            • 754

                            #14
                            Originally posted by vinteuil View Post
                            Are you sure?
                            Oh dear no Mr. V.! Nor was it even Matlock. The 1904 edition of Grove's dictionary in an Appendix instructs us "for Morley Arms, Matlock read The Mosley Hotel, Manchester." Amendments incorporated.

                            One or two persons here have wondered, why this thread was pigeon-holed under "Performance"? It is quite simply because having searched in a desultory way I could not find any specific "opera" board.

                            And other persons - or perhaps the same - have thought the subject-matter unsuitable for the modern world, because we have no "wax cylinders" [invented by a Northern American in 1877, fifty years after Malibran's expiry]. To such our response must be must it not "Nescire autem quid ante quam natus sis acciderit, id est semper esse puerum. Quid enim est aetas hominis, nisi ea memoria rerum veterum cum superiorum aetate contexitur?"

                            Comment

                            • Dave2002
                              Full Member
                              • Dec 2010
                              • 18009

                              #15
                              Re msg 12, the programme was actually on R3 on 10th September - http://www.bbc.co.uk/programmes/b00s61z4

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