710:, but she is very handsome on the stage, with dangerous eyes—the whitest shoulder in the world—and a sense of enjoyment in her acting, which your audience will not be able to resist. Tadolini's voice is a clear soprano-mezzo-soprano in its richest quality, with an intonation that approaches, when necessary, to the contralto. It is as clear as a bell, round, full, and sonorous, perfectly flexible and capable of all those modulations which a great artist like her dashes off, but which are so painful and difficult to thinner voices, and less qualified science. I heard the prima donna to great disadvantage, as she disdained to sing to an empty house (from political excitement), and used merely one half of her powers. Her acting was equally restrained, but the inward spirit could not be altogether subdued, and she occasionally broke forth into silvery and impassioned notes, and abandoned herself to that natural gaiety of song that rendered her in the scene the most captivating of coquettes. Had Tadolini known that the
759:
876:
630:
318:
1989:
33:
2023:
185:
2011:
201:. Her father, Filippo Savorani, a high-ranking civil servant, saw to it that she received a good education for the time, including music lessons with Luigi Favi and Giovanni Grilli at the music academy in Forlì. When she began to develop a soprano voice, described by a contemporary biographer as "sweet, powerful, charming, and with perfect
503:. Nevertheless, the Vienna premiere was a resounding success, even without the original cavatina, and Verdi was determined to have her as his first Alzira. He even delayed the rehearsals until she recovered from the birth of her child. In 1848, however, he wanted her to be replaced as Lady Macbeth for the first Naples performance of
516:
to be ugly and evil. Tadolini sings to perfection; and I would like the Lady not to sing. Tadolini has a stupendous voice, clear, limpid, powerful; and I would like the Lady to have a harsh, stifled, and hollow voice. Tadolini's voice has an angelic quality; I would like the Lady's voice to be diabolical.
1377:
Original
Italian: "Ella ha troppe grazie per Alaide, troppa luce ne' suoi begli occhi, troppi vezzi nel suo sorriso per la misteriosa Straniera. La sua voce volubile, soave, fiorita, è fatta per la gioia, per l'amore che si può consolare, per afflizioni rasserenate dalla speranza, non per gli strazii
515:
You know how highly I regard
Tadolini, and she herself knows it; but I believe it's necessary – for the interest of all concerned. Tadolini's qualities are far too good for that role! This may seem absurd to you!! ... Tadolini has a beautiful and attractive appearance; and I would like Lady Macbeth
541:
She has too many gifts for Alaide, too much light in her beautiful eyes, too much charm in her smile, for the mysterious
Foreign Woman. Her voice full, sweet, and embellished, is made for joy, for the love that consoles, for afflictions borne with hope, not for torments and a stormy heart, not for
297:. Their marriage proved to be an unhappy one, however. The couple separated in 1833 and were divorced in 1834. Following her separation from her husband, she returned to Italy where she was soon in great demand in that country's opera houses, singing leading roles at La Scala,
723:
was very warm, it was not the ecstatic one predicted by the press. Sims Reeves' performance, on the other hand, was described as "triumphant". Tadolini was nearly 40 at the time, and her voice may have been past its prime. However
664:
In the spring of 1848, she travelled to London for what the contemporary press often billed as her "debut", although she had appeared there in 1831 in the secondary role of
Giovanna Seymour for the London premiere of Donizetti's
1804:
Dizionario biografico dei piĂą celebri poeti ed artisti melodrammatici, tragici e comici, maestri, concertisti, coreografi, mimi, ballerini, scenografi, giornalisti, impresarii, ecc. ecc. che fiorirono in Italia dal 1800 al
714:
has ears everywhere, she might have exerted herself to please them; but criticism has art and judgment, and though she sung at mezzo voce, it was not difficult to prognosticate complete success for her at Her
Majesty's
334:
said of
Tadolini, "She is a singer, she is an actress, she is everything". Tadolini's association with Donizetti began in 1831 when she sang the role of Giovanna Seymour in the premiere of the second version of
703:
Madame
Tadolini, who, for the first time is about to appear in London, I am sure will become a great favorite, as she possesses all qualities necessary to captivate an English audience. She is inclined to
649:, although she still performed in other Italian theatres and abroad. She sang in the world premieres of at least 12 operas at the Teatro San Carlo, most of them now forgotten, apart from Verdi's
537:. Although he praised the quality of her singing in the performance, and was a long time admirer of Tadolini, Romani found her lovely voice and appearance less than ideal for a role like Alaide:
1378:
e un cuore in tempesta, non pei delirii di un'anima angosciata, non per le grida della disperazione. Se a coronar la
Straniera bastasse il merito del solo canto, la Tadolini sarebbe coronata."
738:(again warmly, but not ecstatically, received) and participated in several concerts before returning to Naples. Later that year she sang in the Teatro San Carlo's first performance of Verdi's
860:
and initially refused to see a doctor because it brought back memories of her children's deaths. Eugenia
Tadolini died of the disease on 11 July 1872 at the age of 63 and was buried in
833:. Tadolini and her current lover, a young Neapolitan prince, fled to Paris, where she spent the remaining 12 years of her life. Once she was settled in Paris, she wrote to her brother:
617:. Another soprano, Carlotta Gruitz, sang the role in its official premiere later that year. Tadolini eventually sang Lea in 1850, for the premiere of the work's revised version at the
154:
in 1828. She sang in all of Italy's leading opera houses, as well as in Paris, Vienna, and London before retiring from the stage in 1852. She spent her remaining years first in
283:
By the summer of 1830, Eugenia and
Giovanni Tadolini had settled in Paris where both were engaged at the Théâtre-Italien, she as a singer in a company that included
1084:
1012:
817:. After that she retired from the stage and settled down in Naples with her only surviving child. He too would die three years later in the city's 1855–56
2078:
2073:
1062:
1555:, p. 175, which is in turn based on Tadolini's correspondence preserved in the Piancastelli collection at the Biblioteca Civica di Forlì, and
520:
Despite Verdi's urging, and the best efforts of Cammarano, the theatre refused to replace her, as she was one of its reigning stars at the time.
2068:
661:. During that time, she also formed a relationship with a Neapolitan nobleman by whom she had two children, both of whom died in childhood.
1865:
246:. Tadolini's husband was a close friend and admirer of the composer who was also living in Bologna at the time. In 1830, she sang in a
1701:
401:
383:
1202:, was published in the name of Maria Tadolini, the bridegroom's sister and her husband, Luigi Bottrigari. It is reproduced in
1690:
1664:
1672:
381:(as Leonora). Her other notable Donizetti roles which she sang in some of their earliest performances included Eleonora in
728:
has suggested that her relative lack of success with the British public may be partly attributable to its obsession with
212:
She and Giovanni Tadolini married on 13 April 1827. She was 18 and he 42. The following year she made her stage debut in
2063:
2043:
1089:
758:
441:. One of her earliest performances as Adina had been in Vienna in 1835. When she sang the role for the 1842 revival of
1799:
1993:
1954:
1932:
1911:
1842:
1821:
1653:
1634:
120:'s favourite singers. During her career she created over 20 leading roles, including the title roles in Donizetti's
837:
Long live Garibaldi for getting me here!...After my terrible misfortune, this is the first time I feel alive. What
850:
523:
Verdi's view of her unsuitability for roles like Lady Macbeth was similar to that expressed 10 years earlier by
826:
809:
464:
1740:
2058:
1972:
1512:
1231:
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in Paris for its French premiere later that year. By 1842, she had graduated to singing the title role in
2001:
1095:
395:
226:
769:
Between 1849 and 1851, Tadolini sang in three world premieres at the Teatro San Carlo – as Elfrida in
491:, who termed her "one of the greatest talents we possess". In 1844 she sang in the Vienna premiere of
570:. Her Amina which she sang in Vienna, Paris, and several Italian theatres, was particularly admired.
1773:
1391:
For extravagant praise by Romani for both her acting and singing as Nina in Piero Antonio Coppola's
942:
861:
763:
354:
270:) figured primarily in the earliest years of her career, she would later sing the title role in his
682:
342:
209:
to study with Giovanni Tadolini (1785–1872), a well-known composer, conductor and singing teacher.
1168:
172:
at the age of 63. From 1827 to 1834, she was married to the Italian composer and singing teacher,
1017:
1879:
1832:
1624:
369:, again specifically written for her voice. She went on to sing in the Italian premieres of his
1509:, an Italian musical term meaning "half voice", i.e., singing with subdued or moderated volume.
507:
on the grounds that her voice and appearance were too beautiful. In his often quoted letter to
462:
in 1845 and sang in some of the earliest performances of four of his other operas: Griselda in
437:
413:
323:
302:
188:
Congratulation notice for the marriage of Eugenia Savorani and Giovanni Tadolini, 13 April 1827
1922:
1577:
1522:
1452:
1241:
849:, but worried that her money would run out, she later moved to less expensive quarters on the
252:
217:
2053:
2048:
546:
Tadolini sang several other Bellini heroines in addition to Alaide, most notably Elvira in
495:
after which, the composer heard (much to his annoyance) that she had substituted her Act I
488:
220:
followed on 29 December 1829 when she sang Giulietta in the theatre's first performance of
346:
263:
250:
at Rossini's house there, the highlight of which was Rossini himself singing an aria from
8:
1875:
1867:
Positive Valuations of Visual and Aural Ugliness in the Prima Donna: An Aesthetic Paradox
1711:
846:
508:
258:
875:
1646:
L'arte del canto in Romagna: i cantanti lirici romagnoli dell'Ottocento e del Novecento
1488:
1071:
1067:
933:
903:
673:
671:. This time she was returning as an established star and was to sing the title role in
610:
574:
359:
357:
in Vienna). In that same year she sang the title role in world premiere of Donizetti's
202:
122:
793:(1851). During that time she also sang in the theatre's first performances of Verdi's
706:
363:
which he wrote specifically for her voice. In 1843, she created the title role in his
1950:
1928:
1907:
1838:
1817:
1760:
1649:
1630:
1285:
score, but its music was later recycled by Donizetti as the duet "O caro sposino" in
1173:
938:
331:
242:
231:
173:
117:
2015:
1895:
1679:
1620:
957:
953:
807:. She ventured out of her adopted city in December 1852 to sing Giselda in Verdi's
725:
642:
634:
618:
528:
306:
272:
266:
in Paris (23 October 1830). Although the Rossinian repertoire (including Rosina in
230:. She appeared there the following year in the theatre's first performances of two
159:
1166:
Kutsch, K. J.; Riemens, Leo (2003). "Tadolini, Eugenia". In Rost, Hansjörg (ed.).
1795:
1785:
1764:
1727:
1610:
1599:
1551:. The remainder of the account of her final days in Naples and Paris is based on
1140:
1122:
979:
884:
786:
770:
601:
483:
38:
1547:
Tadolini's exact date of death and her performances during this period are from
1697:
1001:
996:
987:
968:
889:
778:
740:
699:
political correspondent in Italy, extolling her virtues (dated 26 March 1848):
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629:
477:
458:
453:
425:
365:
288:
284:
138:
133:
128:
2037:
1942:
1852:
857:
595:
566:
560:
524:
511:, which he wanted passed on to the Teatro San Carlo management, Verdi wrote:
419:
221:
169:
317:
2027:
1899:
1287:
880:
734:
533:
431:
1457:
1051:
872:
Eugenia Tadolini is known to have sung in the following world premieres:
799:
678:
667:
499:, "Ernani! Ernani, involami" with Giselda's cavatina "Non fu sogno" from
377:
337:
164:
116:. Admired for the beauty of her voice and stage presence, she was one of
1505:
1224:
Original Italian: "soave, robusta, simpatica e perfettamente intonata"
729:
548:
907:
822:
695:
554:
446:
407:
312:
298:
32:
1706:
925:
614:
496:
277:
236:
213:
197:
Eugenia Tadolini was born into a prosperous middle-class family in
184:
151:
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in Milan aborted the premiere and forced the temporary closure of
198:
143:
64:
1110:
818:
746:
657:
371:
293:
206:
147:
113:
93:
637:
in Naples as it looked during the time that Tadolini sang there.
1988:
1114:(Gaetano Donizetti). 30 November 1848, Teatro San Carlo, Naples
1043:(Vincenzo Battista), 14 February 1846, Teatro San Carlo, Naples
646:
542:
the ravings of a soul in anguish, not for the cries of despair.
471:
389:
155:
1299:
proposes that the aria was written for Tadolini when she sang
1180:
112:) (July 9, 1808 – 11 July 1872) was an Italian operatic
1568:
The list is not necessarily exhaustive and was compiled from
1215:
Note that some sources misspell her maiden name as "Savonari"
1132:(Giuseppe Lillo). 26 September 1849, Teatro San Carlo, Naples
1036:(Pietro Torregiani). 18 January 1846, Teatro San Carlo, Naple
1029:(Giovanni Pacini). 11 December 1845, Teatro San Carlo, Naples
830:
814:
2022:
991:(Gaetano Donizetti). 5 June 1843, Kärntnertortheater, Vienna
1872:
Staging the Feminine: the arts of the prima donna 1720–1920
387:(in its first performance at La Scala), the title role in
1252:
1250:
593:, as well as in some of the earliest performances of his
1790:(in Italian). Societa tipografica bolognese. p. 92.
1399:, two roles to which he thought her ideally suited, see
1469:
1331:
641:
From 1842, Eugenia Tadolini was primarily based at the
1281:
The cabaletta is not used in standard versions of the
1247:
917:(Saverio Mercadante). 10 March 1838, La Fenice, Venice
732:
at the time. While in London, she also sang Norina in
609:
expressly for her voice. However, the outbreak of the
1999:
1927:. Cambridge University Press. pp. 152, 174–175.
1924:
Singers of Italian Opera: The History of a Profession
445:
in Naples, Donizetti composed a completely new final
168:
for many years, and then in Paris, where she died of
1306:
1534:Eugenia Tadolini's letter to her brother quoted in
1491:uprising that aborted the premiere of Mercadante's
1105:(Carlo Boniforti). 8 February 1848, La Scala, Milan
573:She was also closely associated with the operas of
1977:, vol. 6, G. Daelli, 1865, p. 64 (in Italian)
313:Donizetti, Verdi, Bellini, and Mercadante heroines
192:
1761:Role Creators in the Operas of Saverio Mercadante
605:. Mercadante had also written the role of Lea in
2035:
1894:
1779:, Fondazione Teatro La Fenice, 2003 (in Italian)
1767:, Stanford University. Accessed 3 September 2009
1186:
1947:The Norton/Grove Concise Encyclopedia of Music
1765:Role Creators in the Operas of Giovanni Pacini
744:and in the posthumous premiere of Donizetti's
589:and in the premiere of the revised version of
577:. Tadolini sang in the world premieres of his
327:, a role to which she was particularly suited.
1857:Miscellanee: tratte dalla Gazzetta Piemontese
1816:(in Italian). Biblioteca universale Rizzoli.
1487:The correspondent may have been referring to
1165:
1022:). 8 September 1845, Teatro San Carlo, Naples
982:). 10 December 1842, Teatro San Carlo, Naples
971:), 22 November 1842, Teatro San Carlo, Naples
719:While her reception at the opening night of
1678:
1665:"Performances by Eugenia Savorani-Tadolini"
1296:
1004:). 12 August 1845, Teatro San Carlo, Naples
487:. She in turn was admired by Verdi's wife,
1081:Gusmano il Buono ossia L'assedio di Tarifa
845:At first she lived in an apartment on the
345:in London. She sang the role again at the
31:
2079:Chamber singers of the Emperor of Austria
1906:(2nd ed.). Oxford University Press.
1863:
1771:
1643:
1556:
1349:
1292:
1125:). 23 June 1849, Teatro San Carlo, Naples
321:Eugenia Tadolini as Adina in Donizetti's
2074:19th-century Italian women opera singers
1920:
1811:
1783:
1738:
1662:
1619:
1569:
1552:
1548:
1535:
1475:
1444:
1442:
1429:
1412:
1337:
1325:
1269:
1256:
1203:
874:
757:
628:
591:Francesca Donato ossia Corinto distrutta
316:
183:
1807:(in Italian). E. Dalmazzo. p. 517.
1696:
1366:
2036:
1904:The Concise Oxford Dictionary of Opera
1851:
1834:The Assoluta Voice in Opera, 1797–1847
1755:
1581:
1463:
1400:
1379:
685:. In the week prior to the opening of
1941:
1830:
1794:
1784:Rambelli, Giovanni Francesco (1853).
1691:Caramoor International Music Festival
1608:
1597:
1573:
1518:
1448:
1439:
1416:
1353:
1312:
1237:
1225:
893:at its world premiere in Vienna, 1843
256:. She also sang Zoraide in Rossini's
1732:Die Wiener Hofoper von 1836 bis 1848
1726:
1433:
1054:). 24 February 1847, La Scala, Milan
924:(Saverio Mercadante). 9 March 1839,
693:printed an extract from a letter by
624:
402:L'esule di Roma, ossia Il proscritto
1945:, ed. (1988). "Tadolini, Eugenia".
1667:. L'Almanacco di Gherardo Casaglia
1615:. Vol. 23. J. Alfredo Novello.
384:Il furioso all'isola di San Domingo
13:
1965:
887:in the final scene of Donizetti's
14:
2090:
2069:Burials at Père Lachaise Cemetery
1981:
1864:Rosenberg, Jesse (14 July 2006).
1143:). 1851, Teatro San Carlo, Naples
1076:), 19 March 1847, La Scala, Milan
825:and his troops invaded the city.
216:. A brilliant house debut at the
2021:
2009:
1987:
1745:Museo di Letteratura e Filosofia
867:
456:, she created the title role of
262:in its first performance at the
1562:
1541:
1528:
1497:
1481:
1422:
1406:
1385:
1371:
1359:
1343:
1324:Giuseppina Strepponi quoted in
1318:
829:and his court fled to north to
449:for her, "Obblia le tue pene".
193:Early years and first successes
146:and studied music there and in
1787:Trattato di epigrafia italiana
1741:"La Tadolini nella Sonnambula"
1734:(in German). Verlag Der Apfel.
1629:. Cambridge University Press.
1275:
1262:
1218:
1209:
1192:
1187:Rosenthal & Warrack (1979)
1159:
810:I Lombardi alla prima crociata
753:
501:I Lombardi alla prima crociata
465:I Lombardi alla prima crociata
1:
1902:(1979). "Tadolini, Eugenia".
1604:. Vol. II. Samuel Leigh.
1147:
856:In July 1872, she contracted
1644:Battaglia, Fernando (1979).
1303:in its 1835 Vienna premiere.
1268:Gaetano Donizetti quoted in
922:Il bravo, ossia La veneziana
851:Rue du Faubourg Saint-Honoré
813:at the Teatro Metastasio in
587:Il bravo, ossia La veneziana
179:
7:
1831:Riggs, Geoffrey S. (2003).
1751:. Gatti and Rossi: 242–249.
1648:(in Italian). Bongiovanni.
1503:The author is referring to
1466:, Role creators Mercadante.
150:before making her debut in
10:
2095:
1812:Rescigno, Eduardo (2001).
1772:Pagannone, Giorgio (ed.),
1663:Casaglia, Gherardo (2005).
1096:Teatro Comunale di Bologna
785:(1849), and as Elfrida in
2064:Deaths from typhoid fever
2044:Italian operatic sopranos
1739:Martinez, Andrea (1845).
1365:Giuseppe Verdi quoted in
158:, where she had been the
88:
72:
45:
30:
23:
1626:Donizetti and His Operas
1295:, p. 45. Note that
234:operas – as Amenaide in
16:Italian operatic soprano
1921:Rosselli, John (1992).
1702:"Verdi and His Macbeth"
1673:and as Eugenia Tadolini
1432:, pp. 242–249 and
777:(1849), as Caterina in
276:for a major revival at
1971:Ghislanzoni, Antonio,
1774:Annotated libretto of
1085:Marco Aurelio Marliani
1034:La sirena di Normandia
956:). 26 September 1842,
915:Le due illustri rivali
894:
862:Père Lachaise Cemetery
843:
766:
764:Père Lachaise Cemetery
717:
638:
583:Le due illustri rivali
544:
518:
481:, and Lady Macbeth in
355:Theater am Kärntnertor
328:
303:Teatro Regio di Torino
189:
1974:Gli artisti da teatro
1859:(in Italian). Favale.
1169:Grosses Sängerlexikon
878:
835:
761:
701:
683:Her Majesty's Theatre
632:
539:
513:
320:
268:The Barber of Seville
253:The Barber of Seville
218:Teatro Regio di Parma
187:
1996:at Wikimedia Commons
1403:, pp. 329, 385.
1094:). 6 November 1847,
1013:Vincenzo Capecelatro
558:, the title role in
489:Giuseppina Strepponi
452:An early admirer of
417:, the title role in
294:maestro concertatore
1876:University of Leeds
1814:Dizionario verdiano
1800:"Tadolini, Eugenia"
1714:on 20 November 2008
1700:(5 November 2007).
1559:, pp. 151–163.
1493:La schiava saracena
1103:Giovanna di Fiandra
821:epidemic. In 1860,
805:La schiava saracena
803:, and Mercadante's
607:La schiava saracena
509:Salvadore Cammarano
259:Ricciardo e Zoraide
205:", she was sent to
1489:Five Days of Milan
1393:La pazza per amore
1297:Crutchfield (2009)
1119:Elfrida da Salerno
976:La fidanzata corsa
950:Elodia di Herstall
943:Kärntnertortheater
934:Linda di Chamounix
904:Saverio Mercadante
895:
879:Eugenia Tadolini,
775:Elfrida di Salerno
767:
721:Linda di Chamounix
687:Linda di Chamounix
674:Linda di Chamounix
639:
575:Saverio Mercadante
360:Linda di Chamounix
343:The King's Theatre
329:
309:, amongst others.
190:
142:. She was born in
123:Linda di Chamounix
2059:People from Forlì
1992:Media related to
1896:Rosenthal, Harold
1684:Programme notes:
1680:Crutchfield, Will
1621:Ashbrook, William
1612:The Musical World
1428:See for example,
1174:K. G. Saur Verlag
1128:Caterina Howard,
939:Gaetano Donizetti
906:). 9 March 1834,
691:The Musical World
625:Naples and London
375:(as Paolina) and
332:Gaetano Donizetti
243:Bianca e Falliero
240:and as Bianca in
227:Giulietta e Romeo
174:Giovanni Tadolini
100:
99:
2086:
2026:
2025:
2014:
2013:
2012:
2005:
1994:Eugenia Tadolini
1991:
1960:
1949:. W. W. Norton.
1938:
1917:
1891:
1889:
1887:
1878:. Archived from
1860:
1848:
1827:
1808:
1796:Regli, Francesco
1791:
1780:
1776:L'elisir d'amore
1768:
1752:
1735:
1723:
1721:
1719:
1710:. Archived from
1693:
1686:L'elisir d'amore
1675:
1670:
1659:
1640:
1616:
1605:
1584:
1566:
1560:
1557:Battaglia (1979)
1545:
1539:
1532:
1526:
1516:
1510:
1501:
1495:
1485:
1479:
1473:
1467:
1461:
1455:
1446:
1437:
1426:
1420:
1410:
1404:
1397:L'elisir d'amore
1389:
1383:
1375:
1369:
1363:
1357:
1350:Rosenberg (2006)
1347:
1341:
1335:
1329:
1322:
1316:
1310:
1304:
1293:Pagannone (2003)
1283:L'elisir d'amore
1279:
1273:
1266:
1260:
1254:
1245:
1235:
1229:
1222:
1216:
1213:
1207:
1196:
1190:
1184:
1178:
1177:
1163:
1093:
1075:
1048:Bianca Contarini
1027:Stella di Napoli
1021:
958:Teatro San Carlo
954:Alessandro Curmi
941:). 19 May 1842,
900:Emma d'Antiochia
762:Paris seen from
726:William Ashbrook
655:and Donizetti's
643:Teatro San Carlo
635:Teatro San Carlo
619:Teatro San Carlo
579:Emma d'Antiochia
443:L'elisir d'amore
438:L'elisir d'amore
324:L'elisir d'amore
307:Teatro San Carlo
160:Teatro San Carlo
103:Eugenia Tadolini
79:
60:
58:
50:Eugenia Savorani
35:
25:Eugenia Tadolini
21:
20:
2094:
2093:
2089:
2088:
2087:
2085:
2084:
2083:
2034:
2033:
2032:
2020:
2010:
2008:
2000:
1984:
1968:
1966:Further reading
1963:
1957:
1935:
1914:
1885:
1883:
1845:
1824:
1717:
1715:
1698:Gossett, Philip
1668:
1656:
1637:
1588:
1587:
1570:Casaglia (2005)
1567:
1563:
1553:Rosselli (1992)
1549:Casaglia (2005)
1546:
1542:
1536:Rosselli (1992)
1533:
1529:
1517:
1513:
1502:
1498:
1486:
1482:
1476:Rosselli (1992)
1474:
1470:
1462:
1458:
1447:
1440:
1430:Martinez (1845)
1427:
1423:
1413:Casaglia (2005)
1411:
1407:
1395:, and Adina in
1390:
1386:
1376:
1372:
1364:
1360:
1348:
1344:
1338:Rescigno (2001)
1336:
1332:
1326:Ashbrook (1983)
1323:
1319:
1311:
1307:
1280:
1276:
1270:Ashbrook (1983)
1267:
1263:
1257:Ashbrook (1983)
1255:
1248:
1236:
1232:
1223:
1219:
1214:
1210:
1204:Rambelli (1853)
1198:The notice, or
1197:
1193:
1185:
1181:
1176:. p. 4635.
1164:
1160:
1150:
1141:Nicola De Giosa
1130:Caterina Howard
1123:Giuseppe Puzone
1087:
1065:
1063:Carlo Boniforti
1015:
980:Giovanni Pacini
885:Giorgio Ronconi
870:
827:King Francis II
783:Caterina Howard
756:
627:
611:1848 Revolution
602:Orazi e Curiazi
527:who saw her in
435:, and Adina in
396:Pia de' Tolomei
347:Théâtre-Italien
315:
264:Théâtre-Italien
195:
182:
84:
81:
77:
68:
62:
56:
54:
52:
51:
41:
39:Josef Kriehuber
26:
17:
12:
11:
5:
2092:
2082:
2081:
2076:
2071:
2066:
2061:
2056:
2051:
2046:
2031:
2030:
2018:
1998:
1997:
1983:
1982:External links
1980:
1979:
1978:
1967:
1964:
1962:
1961:
1955:
1943:Sadie, Stanley
1939:
1933:
1918:
1912:
1892:
1882:on 9 June 2011
1861:
1853:Romani, Felice
1849:
1843:
1828:
1822:
1809:
1792:
1781:
1769:
1753:
1747:(in Italian).
1736:
1724:
1694:
1676:
1660:
1654:
1641:
1635:
1617:
1609:Anon. (1848).
1606:
1601:The Harmonicon
1598:Anon. (1830).
1594:
1586:
1585:
1561:
1540:
1538:, p. 175.
1527:
1511:
1496:
1480:
1478:, p. 175.
1468:
1456:
1438:
1421:
1405:
1384:
1382:, p. 407.
1370:
1367:Gossett (2007)
1358:
1356:, p. 192.
1342:
1340:, p. 510.
1330:
1317:
1315:, p. 749.
1305:
1274:
1261:
1259:, p. 641.
1246:
1230:
1228:, p. 517.
1217:
1208:
1191:
1189:, p. 488.
1179:
1157:
1156:
1149:
1146:
1145:
1144:
1133:
1126:
1115:
1106:
1099:
1077:
1055:
1044:
1037:
1030:
1023:
1005:
1002:Giuseppe Verdi
992:
988:Maria di Rohan
983:
972:
969:Giuseppe Lillo
961:
946:
929:
918:
911:
890:Maria di Rohan
869:
866:
847:Champs-Élysées
797:, Donizetti's
755:
752:
626:
623:
475:, Odabella in
426:Gemma di Vergy
414:Marino Faliero
405:, Antonina in
399:, Eleonora in
366:Maria di Rohan
314:
311:
289:Giuditta Pasta
285:Maria Malibran
194:
191:
181:
178:
129:Maria di Rohan
98:
97:
92:Opera singer (
90:
86:
85:
82:
80:(aged 64)
74:
70:
69:
63:
49:
47:
43:
42:
36:
28:
27:
24:
15:
9:
6:
4:
3:
2:
2091:
2080:
2077:
2075:
2072:
2070:
2067:
2065:
2062:
2060:
2057:
2055:
2052:
2050:
2047:
2045:
2042:
2041:
2039:
2029:
2024:
2019:
2017:
2007:
2006:
2003:
1995:
1990:
1986:
1985:
1976:
1975:
1970:
1969:
1958:
1956:0-393-02620-5
1952:
1948:
1944:
1940:
1936:
1934:0-521-42697-9
1930:
1926:
1925:
1919:
1915:
1913:0-19-311321-X
1909:
1905:
1901:
1900:Warrack, John
1897:
1893:
1881:
1877:
1873:
1869:
1868:
1862:
1858:
1854:
1850:
1846:
1844:0-7864-1401-4
1840:
1837:. McFarland.
1836:
1835:
1829:
1825:
1823:88-17-86628-8
1819:
1815:
1810:
1806:
1801:
1797:
1793:
1789:
1788:
1782:
1778:
1777:
1770:
1766:
1762:
1758:
1754:
1750:
1746:
1742:
1737:
1733:
1729:
1728:Jahn, Michael
1725:
1713:
1709:
1708:
1703:
1699:
1695:
1692:
1688:
1685:
1681:
1677:
1674:
1666:
1661:
1657:
1655:1-135-18688-X
1651:
1647:
1642:
1638:
1636:0-521-27663-2
1632:
1628:
1627:
1622:
1618:
1614:
1613:
1607:
1603:
1602:
1596:
1595:
1593:
1592:
1583:
1579:
1575:
1571:
1565:
1558:
1554:
1550:
1544:
1537:
1531:
1524:
1520:
1515:
1508:
1507:
1500:
1494:
1490:
1484:
1477:
1472:
1465:
1460:
1454:
1450:
1445:
1443:
1435:
1431:
1425:
1419:, p. 170
1418:
1414:
1409:
1402:
1401:Romani (1837)
1398:
1394:
1388:
1381:
1380:Romani (1837)
1374:
1368:
1362:
1355:
1351:
1346:
1339:
1334:
1328:, p. 641
1327:
1321:
1314:
1309:
1302:
1298:
1294:
1290:
1289:
1284:
1278:
1272:, p. 498
1271:
1265:
1258:
1253:
1251:
1243:
1239:
1234:
1227:
1221:
1212:
1205:
1201:
1195:
1188:
1183:
1175:
1171:
1170:
1162:
1158:
1155:
1154:
1142:
1138:
1137:Folco d'Arles
1134:
1131:
1127:
1124:
1120:
1116:
1113:
1112:
1107:
1104:
1100:
1097:
1091:
1086:
1082:
1078:
1073:
1069:
1064:
1060:
1056:
1053:
1049:
1045:
1042:
1038:
1035:
1031:
1028:
1024:
1019:
1014:
1010:
1006:
1003:
999:
998:
993:
990:
989:
984:
981:
977:
973:
970:
966:
962:
959:
955:
951:
947:
944:
940:
936:
935:
930:
927:
923:
919:
916:
912:
909:
905:
901:
897:
896:
892:
891:
886:
882:
877:
873:
868:Roles created
865:
863:
859:
858:typhoid fever
854:
852:
848:
842:
840:
834:
832:
828:
824:
820:
816:
812:
811:
806:
802:
801:
796:
792:
791:Folco d'Arles
788:
784:
780:
776:
772:
765:
760:
751:
749:
748:
743:
742:
737:
736:
731:
727:
722:
716:
713:
709:
708:
700:
698:
697:
692:
688:
684:
680:
676:
675:
670:
669:
662:
660:
659:
654:
653:
648:
644:
636:
631:
622:
620:
616:
612:
608:
604:
603:
598:
597:
596:Il giuramento
592:
588:
584:
580:
576:
571:
569:
568:
567:La sonnambula
564:and Amina in
563:
562:
557:
556:
552:, Imogene in
551:
550:
543:
538:
536:
535:
530:
526:
525:Felice Romani
521:
517:
512:
510:
506:
502:
498:
494:
490:
486:
485:
480:
479:
474:
473:
468:
466:
461:
460:
455:
450:
448:
444:
440:
439:
434:
433:
428:
427:
422:
421:
420:Maria Padilla
416:
415:
410:
409:
404:
403:
398:
397:
392:
391:
386:
385:
380:
379:
374:
373:
368:
367:
362:
361:
356:
352:
348:
344:
340:
339:
333:
326:
325:
319:
310:
308:
304:
300:
296:
295:
290:
286:
281:
279:
275:
274:
269:
265:
261:
260:
255:
254:
249:
245:
244:
239:
238:
233:
229:
228:
223:
222:Nicola Vaccai
219:
215:
210:
208:
204:
200:
186:
177:
175:
171:
170:typhoid fever
167:
166:
161:
157:
153:
149:
145:
141:
140:
135:
131:
130:
125:
124:
119:
115:
111:
108:
104:
95:
91:
87:
83:Paris, France
76:July 11, 1872
75:
71:
66:
53:July 9, 1808
48:
44:
40:
34:
29:
22:
19:
1973:
1946:
1923:
1903:
1884:. Retrieved
1880:the original
1871:
1870:. Symposium
1866:
1856:
1833:
1813:
1803:
1786:
1775:
1756:
1748:
1744:
1731:
1716:. Retrieved
1712:the original
1705:
1687:
1683:
1669:(in Italian)
1645:
1625:
1611:
1600:
1590:
1589:
1574:Anon. (1848)
1564:
1543:
1530:
1514:
1504:
1499:
1492:
1483:
1471:
1459:
1449:Anon. (1848)
1436:, p. 34
1424:
1417:Riggs (2003)
1408:
1396:
1392:
1387:
1373:
1361:
1354:Riggs (2003)
1345:
1333:
1320:
1313:Sadie (1988)
1308:
1300:
1288:Don Pasquale
1286:
1282:
1277:
1264:
1238:Anon. (1830)
1233:
1226:Regli (1860)
1220:
1211:
1206:, p. 92
1199:
1194:
1182:
1167:
1161:
1152:
1151:
1136:
1129:
1118:
1109:
1102:
1080:
1058:
1047:
1040:
1033:
1026:
1008:
995:
986:
975:
964:
949:
932:
921:
914:
899:
888:
881:Carlo Guasco
871:
855:
844:
838:
836:
808:
804:
798:
794:
790:
782:
774:
768:
745:
739:
735:Don Pasquale
733:
720:
718:
711:
705:
702:
694:
690:
686:
672:
666:
663:
656:
650:
640:
606:
600:
594:
590:
586:
582:
578:
572:
565:
559:
553:
547:
545:
540:
534:La straniera
532:
522:
519:
514:
504:
500:
492:
482:
476:
470:
463:
457:
451:
442:
436:
432:Don Pasquale
430:
429:, Norina in
424:
418:
412:
406:
400:
394:
388:
382:
376:
370:
364:
358:
350:
336:
330:
322:
292:
282:
271:
267:
257:
251:
247:
241:
235:
225:
211:
196:
163:
162:'s reigning
137:
127:
121:
109:
106:
102:
101:
78:(1872-07-11)
61:July 9, 1808
37:Portrait by
18:
2054:1872 deaths
2049:1808 births
1886:3 September
1718:3 September
1434:Jahn (2004)
1352:. See also
1088: [
1066: [
1052:Lauro Rossi
1032:La sirena,
1016: [
800:La favorita
754:Final years
679:Sims Reeves
668:Anna Bolena
423:, Gemma in
411:, Elena in
378:La favorita
351:Anna Bolena
338:Anna Bolena
165:prima donna
2038:Categories
1757:OperaGlass
1582:OperaGlass
1576:, p.
1521:, p.
1519:Anon. 1848
1506:mezza voce
1464:OperaGlass
1451:, p.
1240:, p.
1148:References
1101:Giovanna,
920:Violetta,
730:Jenny Lind
707:embonpoint
549:I puritani
469:Elvira in
305:, and the
291:and he as
203:intonation
89:Occupation
57:1808-07-09
2016:Biography
1200:epigrafia
1135:Elfrida,
1117:Elfrida,
1108:Paolina,
1098:, Bologna
1057:Velleda,
908:La Fenice
823:Garibaldi
696:The Times
677:opposite
555:Il pirata
447:cabaletta
408:Belisario
393:, Pia in
299:La Fenice
280:in 1836.
180:Biography
118:Donizetti
1855:(1837).
1798:(1860).
1730:(2004).
1707:Playbill
1682:(2009),
1623:(1983).
1301:L'elisir
1046:Bianca,
1039:Amelia,
1025:Stella,
1007:Elvira,
994:Alzira,
960:, Naples
948:Elodia,
945:, Vienna
926:La Scala
913:Elvira,
910:, Venice
898:Adelia,
787:De Giosa
715:Theatre.
615:La Scala
497:cavatina
353:(at the
278:La Scala
237:Tancredi
214:Florence
152:Florence
110:Savorani
2002:Portals
1591:Sources
1111:Poliuto
1079:Irene,
1059:Velleda
1009:Mortedo
985:Maria,
931:Linda,
928:, Milan
819:cholera
795:Macbeth
747:Poliuto
658:Poliuto
529:Bellini
505:Macbeth
484:Macbeth
372:Poliuto
232:Rossini
207:Bologna
148:Bologna
114:soprano
94:soprano
67:, Italy
1953:
1931:
1910:
1841:
1820:
1652:
1633:
1580:; and
997:Alzira
974:Rosa,
963:Lara,
771:Puzone
741:Attila
652:Alzira
647:Naples
585:, and
493:Ernani
478:Attila
472:Ernani
459:Alzira
390:Fausta
301:, the
273:Armida
248:soirée
156:Naples
139:Alzira
2028:Opera
1153:Notes
1092:]
1074:]
1020:]
831:Gaeta
815:Prato
779:Lillo
712:Times
561:Norma
454:Verdi
199:Forlì
144:Forlì
134:Verdi
65:Forlì
1951:ISBN
1929:ISBN
1908:ISBN
1888:2009
1839:ISBN
1818:ISBN
1805:1860
1763:and
1720:2009
1650:ISBN
1631:ISBN
1415:and
965:Lara
883:and
839:life
633:The
599:and
287:and
132:and
126:and
73:Died
46:Born
1671:.;
1578:306
1523:339
1453:306
1242:352
1041:Emo
1011:, (
952:, (
789:'s
781:'s
773:'s
681:at
645:in
531:'s
341:at
224:'s
136:'s
107:née
2040::
1898:;
1874:.
1802:.
1759:,
1743:.
1704:.
1689:,
1572:;
1441:^
1291:.
1249:^
1172:.
1090:ca
1072:de
1070:;
1068:ca
1018:it
864:.
853:.
750:.
689:,
621:.
581:,
467:,
176:.
2004::
1959:.
1937:.
1916:.
1890:.
1847:.
1826:.
1749:8
1722:.
1658:.
1639:.
1525:.
1244:.
1139:(
1121:(
1083:(
1061:(
1050:(
1000:(
978:(
967:(
937:(
902:(
841:!
105:(
96:)
59:)
55:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
