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330:...several new Italian airs and duets have appeared from the pen of Madame Caradori Allan, a lady long distinguished for her pure and graceful style in this species of composition. There are two duets, "Le Due Rose", and Il Canto del Trovadore", both for ladies’ voices . But our favourite among these songs is "Il sospiro": it is quite a little gem, full of fanciful tenderness, and original and imaginative in every bar.
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natural rather than acquired flexibility, so completely free is it from all show of difficulty or exertion. If, as critics, we must find any fault, it is in rather a redundancy of ornament, but it is introduced in a manner so little interfering with the sentiment, and so charmingly executed, that we were more pleased with it than, as grave and judicious judges, we fear we ought to be
149:, her father died when she was 20, leaving the family short of funds, and obliging her to employ professionally her musical talents, which had previously been under the direction of her mother, as "an elegant accomplishment". She must have had a good education as she developed into a versatile polyglot, proficient in English, French, German and Italian.
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Throughout her life, Madame
Caradori-Allan enjoyed great popularity. She was personally amiable and unaffected. Musically, she was highly accomplished, being an excellent sight reader and a well-regarded composer of songs for solo and ensemble voices. Her singing was more remarkable for finish than
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She appears very youthful, with a slight figure and pleasant archness of countenance that suits the character well. Her voice is like her person, slender; but has tones of extreme sweetness and expression that go at once to the heart, with a happy facility of execution that appears the result of
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In the final phase of her career, she abandoned the stage for oratorio and concert singing, in which she achieved great success. In 1840, she undertook a successful concert tour in the United States. She was a regular performer at the
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illustrating the legend that a mother pelican would sacrifice herself in times of need by pecking her breast and letting her chicks drink her blood. Beneath this are the words, “Ici repose ma meillure amie, ma mère”.
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for force; her voice was characterized as pure, sweet, clear, silvery, and flexible. However, it was said of her that "she always delighted, but never surprised" her audiences. As an actress she was charming.
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on 21 March 1825 and, at about that time, took part in the York festival and was at
Gloucester. In 1827 she performed at the Leicester and Worcester festivals. In 1834, she sang in the Handel festival in
269:. However, during the following year, her salary rose to ÂŁ1,200, but this was the last season of Italian opera in England for some time. After that, Caradori-Allan went to the continent.
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135:, in 1800. Her father, Baron de Munck, was an Alsatian, who served in the French army, while her mother, whose maiden name was Caradori, was a native of
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She retired in 1848 following the end of season
Concert of Ancient Music on 14 June, although she put in one final appearance on the platform, for the
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In 1824, she married Mr. E. T. Allan, the secretary of the King's
Theatre, where she was again engaged at a salary of ÂŁ500, singing with Catalani in
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After a tour in France and part of
Germany, the influence and support of Count St. Antonio resulted in her engagement at
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Her salary for this first season was ÂŁ300. In 1823, she was re-engaged, at a salary of ÂŁ400, and appeared as
Vitellia in
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In 1826, her salary, which had been lowered to ÂŁ400, was raised to ÂŁ700, and she sang with
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Rosselli, John (2004). "Allan, (Maria
Caterina) Rosalbina Caradori- (1800–1865)".
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Rosalbina
Caradori-Allan by Pierre Louis ('Henri') Grevedon, 1831
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in London, where she made her first appearance as
Cherubino in
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215:. In the following year her chief parts were Carlotta in
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Her mother, Elizabeth de Munck (née
Caradori), died in
499:, T. Presser, pp. 460–462. Accessed 28 July 2013
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of 12 July 1847 reviewed her compositions favourably:
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in 1830, where she created the role of Giulietta in
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312:at a production given at the Birmingham festival.
168:of 20 January 1822 reviewed her début favourably
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493:Boyd, Charles Newell; Waldo Selden Pratt (1922),
342:. Her grave monument has a relief carving of a
291:British première of Beethoven's Symphony No. 9
131:Caradori-Allan was born at the Casa Palatina,
589:. Vol. 9. London: Smith, Elder & Co.
462:Friends of Highgate Cemetery Trust Newsletter
209:and (as a benefit for herself) as Zerlina in
123:; 1800–1865) was a French operatic soprano.
517:(online ed.). Oxford University Press.
320:, and did some teaching. She also composed;
298:, in 1836 at the Winchester festival with
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496:Grove's Dictionary of Music and Musicians
577:Caradori-Allan, Maria Caterina Rosalbina
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661:19th-century French women opera singers
514:Oxford Dictionary of National Biography
507:Oxford Dictionary of National Biography
117:Maria Caterina Rosalbina Caradori-Allan
18:Maria Caterina Rosalbina Caradori-Allan
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358:on 1 May 1851. She died at Elm Lodge,
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575:Squire, William Barclay (1887). "
289:She sang the soprano solo at the
58:Maria Caterina Rosalbina de Munck
586:Dictionary of National Biography
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608:Complete Encyclopaedia of Music
547:Complete Encyclopaedia of Music
302:, and in 1846 she took part in
147:Complete Encyclopaedia of Music
603:"Allan, Madame Caradori"
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617:"Caradori-Allan, Maria"
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531:UK public library membership
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207:Nuovo latico per la Musica,
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318:Concerts of Antient Music
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656:French operatic sopranos
543:"Caradori, Allan, Madam"
283:I Capuleti e i Montecchi
36:Rosalbina Caradori-Allan
266:Il Barbiere di Seviglia
142:New American Cyclopedia
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27:French operatic soprano
455:"A mother's sacrifice"
362:, on 15 October 1865.
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354:concert which opened
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238:Il crociato in Egitto
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188:and as Carlotta in
184:La clemenza di Tito
139:. According to the
651:Singers from Milan
190:Saverio Mercadante
159:Le nozze di Figaro
539:Moore, John Weeks
529:(Subscription or
422:, pp. 30–31.
340:Highgate Cemetery
304:Felix Mendelssohn
296:Westminster Abbey
263:and as Rosina in
259:Giulietta e Romeo
233:Giacomo Meyerbeer
229:Pietro l'Eremita,
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559:Attribution
475:15 December
441:Squire 1887
420:Squire 1887
396:Squire 1887
635:Categories
533:required.)
408:Moore 1875
375:References
366:Assessment
254:Zingarelli
223:Fatima in
221:L'Adelina,
79:1865-10-15
541:(1875) .
110:1822–1845
89:, England
610:. 1880 .
466:Archived
360:Surbiton
121:de Munck
87:Surbiton
626:. 1900.
583:(ed.).
573::
488:Sources
344:pelican
278:Bellini
243:Velluti
100:soprano
67:, Italy
579:". In
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336:London
309:Elijah
274:Venice
179:Mozart
469:(PDF)
458:(PDF)
380:Notes
133:Milan
119:(née
65:Milan
477:2023
203:Mayr
127:Life
73:Died
61:1800
54:Born
519:doi
306:'s
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