Garcia the Centenarian And His Times

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r her return from America in the early autumn of 1827, she had been joined in Paris by Manuel; how the two lived there together for some months, while he helped his sister with her singing and coached her

cond visit she received from Laporte sixty-six pounds a performance for a three months' season, two appearances a-week (40,000

ieu?" During the London season they shared the success, which brought about such coldness between them that it took all th

took part in "Tancredi." Rarely had Sontag given so beautiful a performance as she did in this her last appearance in the part before retiring into private life. At the close of

and remained without a rival among the contralti of her time. After this she appeared regularly each season in Paris and London during that brief career in which she took the world by storm. L

tralto used to receive was for

ving which belonge

dy stated, the following year found her salary increased to ￡125 a-night, nearly double

etta. Six times after the fall of the curtain was she called forward to receive the reiterated plaudits and adieus of a public which seemed unable to bear the idea of separation from its new idol. The singer, for her part, had only strength and spirits left to kiss her hand to the assembled multitude, and indicate by expressive gestures the degr

favourite in the city, her most effective part being Norma. Such enormous success had she made in this r?le

of the Opera House in what part she would like to make h

e, do you f

. I will live or die as Norma." Bel

received in deliberate, stony silence. Her next number was the terzetto. After one of the passages which she had to render the audience suddenly forgot themselves and shouted out, "Bravo!" This was instantly followed by cries of "Hush!" "Silence

ncreasing enthusiasm. At the close she was called before the curtain again and again, and when she left the Opera House to drive home, the populace took out the horses and themselves dragged her to the hotel. From

th with her irregular birth, calling her "vile bastard." The whole audience at once saw in this expression an allusion to the usurpation of Lombardy, and broke out into loud shouts. Next day the Austrian governor ordered the scene to be suppressed, and at the same time threatened Maria Malibran with prison if she did not submit. The singer, howev

e sixteenth century, which had never been repealed, enacted that all gondolas must be painted uniformly black. Maria Malibran wished to change this. "I have introduced a novelty here," she writes, "which will mark an epoch in my career: I have had the outside of my gondola painted grey w

id of a public riot, such was her popularity, and he feared still more the observations of the Austrian Court, so determined to shut his eyes to the matter. But the singer had her revenge, for one day

ear Brussels, and from that time on made it a custom to

outh. During conversation he suggested that they should make a tour in Italy: the idea pleased her, and without more ado t

rcia's father passed away

h, many of which are still treasured among the municipal archives of Madrid. Lastly, as a teacher of singing he made his mark both in Paris and London, and a great many of the best qualities of the modern school of vocalists depend on the joint teaching of the elder Garcia and his son Manuel; for while the latter was the first to conduct vocal training on correc

rought an additional ￡2000; and on May 1, we read that she appeared in the first performance of an English version of "Somnambul

whom Bellini had written the r?le. Further, the old Italian musician found in her his ideal interpreter

r advanced to thank her, Maria Malibran rushed towards h

s in speaking of the incident. "Je me croyais en paradis

July was spent in London. The following August saw her reception at the Court of Lucca, and of this visit a charming description is given in a letter written by the vi

August 3

lightful days. It would be impossible to find a reigning prince with more geniality and

affected sort of laugh such as is considered etiquette at the Court functions in France and Belgium, but the hearty gaiety of the people, for here you do not have to put a restraint on yourself at the Court. When you enter th

value, set in a ring for the little finger of my left hand; so in future I am always sure to have a brilliant cadenza. Then there was a very nice ornament in the shape of an eagle for Mar

fun during the dinner, over which he presided, sitting at the middle of the table. In his hand he held a

by the hand, as Labarre used to do when he was in good spirits. At last the Duke sat

picturesqueness to the evening. A couple of bats flew in at the window, attracte

the rest of the party, including S.A.R., armed ourselves with sticks

ry, organised on the spur of the moment. We purpose spending two more days at Lucc

the fancy of the Duke, and I have given it to him. He has given me hi

E BéR

tomical studies at the hospital, he had joined his father in his work, he at once resolved to apply the knowledge thus gained. It was, therefore, his custom to insist that every pup

clientèle. With his pupils, both amateur and professional, he gained such continuous success that at last, in 1835, he was

e until the year 1842. At the time Se?or Garcia joined the staff Cherubini was at the head of affairs, having been made director in the year 1821 (after being professor of c

libran, was in London during May and June, having been engaged by the management of t

close of the season they were to hear her in the capital no more, and that in littl

ntralto retired to Brussels for a rest, and

Giovanni Gallo, the director of the little theatre of "St J

ame to beg her aid. Maria Malibran refused, but offered to s

to overflowing. The tenor was so affected that he suddenly stopped short, and for some minutes could not sing a note. The public began to murmur, and the whole success of the evening was in jeopardy, until Malibran came to the rescue. She at once commenced to sing the tenor music, and rendered it with suc

n the Syndic of the gondoliers was announced. On being shown in, he presented a golden cup filled with wine, and begged her to touch it with her lips. From her balcony she saw the cup passed from hand to hand down that long flotilla, stretching away down to the "Riva del Carbone." Each

mself next day with the 3000 francs, as arranged, the tender-hearted artist discovered his predicament, and not only let him off her fee, but provided hi

ois sacré qui

ds souvent lais

ality of Venice decided that the Theatre of Saint Jean Ch

dies, which she had already commenced, with regard to the reform of costume and scenery. Towards the realisation of her dreams she was supported by the Duke of Visconti, who, besides his connection with the opera house, was superintendent of the Academy of Art and Science. Reviving the ideas of Talma, she wished to introduce in the theatre artistic and arch?ologica

s, but several albums of sketches for which she was herself responsible, and these exhibit co

"Otello," "I Capuletti," "Norma," "Somnambula," and "Giovanna Grey." The enthusiasm of the public had never reached such a pitch before, and it is from th

ted medal of gold, in which she was depicted in the costume of "Norma"; while the governo

success in the French capital and followed her thither, demanding a share of her professional emoluments. With this claim she very properly refused to comply. He had obtained her hand

arles de Bériot, the violinist, and we read that "the Queen of France

ds were heard there for the first time together at a concert given for th

oad and receiving injuries to her head from which she never recovered, though her wonderful energy enabled her to disregard t

ces in her room at the hotel to please some Italian friends. On the Monday she took part in the opening performance. Next day she was weak and ill, but nevertheless sang afternoon and evening. On the Wednesday her condi

none forgot who were pre

ain for which she was so ill-prepared. But no; Maria Malibran refused to break faith with the public whom she had served so long, so gloriously. Even though her heart was chilled with presage of impending doom, she forced herself to enter on her self-appoi

enraptured audience clamoured to hear her yet again, and the noisy demand grew ev

woman against sinking nature, the vivid glare of an expiring lamp. Higher and higher rose the voice, paler and paler grew the singer. Then came a l

r heroine, but, alas! those thunders of applause fell on ears that

re she lingered for nine days in a fever before the end came. On her deathbed her poor brai

d. Here for many years, on each succeeding anniversary of her death, the musicians of Brussels were wont to deposit their visiting-cards at the grille of the now deserted mausoleum, the cupola of which still towers

dead, Duve

ot yet arrived

reat histrionic powers. Her singing, as has been already stated, was always full of fire and warmth, while, besides her passion, there was gentle pathos, which had great effect on the listener. As a girl she was petite and slight, with burning cheek

, while as an artist her sketches were good, and sometimes amusing. Moreover, her vivacious temperament and ready wit found an outlet in a love of fun and

sang the do re mi part of it; and when she repeated it she executed the florid divisions so delightfully, and so brilliantly, yet quite differently from the first time, that the company was enraptured.... The prima donna requested Lablache to sustain the low F, me to sing B flat, and others the harmonic

to place, and when she arrived, brown with the sun and dust of Italy, would sometimes jump into the sea. Then she would go straight to the opera and, having sung "Amina," "Norma," or "The Maid of Artois," as we shall pe

as the rest of her family, for she died at twenty-eight, whereas her mother lived to be eighty-three, and her sister Pauline

a Malibran, "Son esprit est t