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56-539: Maria Felicia Malibran (24 March 1808 – 23 September 1836) was a Spanish singer who commonly sang both contralto and soprano parts, and was one of the best-known opera singers of the 19th century. Malibran was known for her stormy personality and dramatic intensity, becoming a legendary figure after her death in Manchester , England, at age 28. Contemporary accounts of her voice describe its range, power and flexibility as extraordinary. María Felicitas García Sitches

112-418: A character in a poem by William McGonagall . Mark Twain 's daughter Susy Clemens , dying of spinal meningitis , wrote a final delirious prose poem addressed to Malibran, whom she regarded as a kind of patron saint: "Tell her to say God bless the shadows as I bless the light." Notes Cited sources Other sources Contralto A contralto ( Italian pronunciation: [konˈtralto] )

168-478: A little later than the original date. Its success was partly due to the differences between Romani's earlier libretti and this one, as well as "the accumulation of operatic experience which both [Bellini] and Romani had brought to its creation." Press reactions were universally positive, as was that of the Russian composer, Mikhail Glinka , who attended and wrote overwhelmingly enthusiastically: After its premiere,

224-1357: A lyric contralto voice. Ma Moss in The Tender Land is a notable lyric contralto role. The dramatic contralto voice is heard in much of the German operatic repertoire. Erda in Der Ring des Nibelungen and Gaea in Daphne are both good examples of the dramatic contralto. True operatic contraltos are rare, and the operatic literature contains few roles written specifically for them with most of those roles singing notes outside of their defined range. Contraltos sometimes are assigned feminine roles like Teodata in Flavio , Angelina in La Cenerentola , Rosina in The Barber of Seville , Isabella in L'italiana in Algeri , and Olga in Eugene Onegin , but more frequently they play female villains or trouser roles . Contraltos may also be cast in roles originally written for castrati . A common saying among contraltos

280-532: A mill in the background As the betrothal procession of Amina and Elvino approaches, the villagers all proclaiming joy for Amina, Lisa, the proprietress of the inn, comes outside expressing her misery: Tutto è gioia, tutto è festa...Sol per me non non v'ha contento / "All is joy and merriment... I alone am miserable". She is consumed with jealousy for she had once been betrothed to Elvino and had been abandoned by him in favour of Amina. The lovelorn Alessio arrives, but she rejects his advances. All assembled proclaim

336-460: A physician and continued to perform. In September 1836 she was in Manchester participating in a music festival at the collegiate church and Theatre Royal on Fountain Street. She collapsed on stage while performing encores at the theatre, but insisted on performing in the church the following morning and died after a week of agony, attended by her private physician. Her body was temporarily buried in

392-764: A production which was revived in Spring 2014 with Diana Damrau singing the role of Amina. A production was mounted by The Royal Opera in London in 2011, by the Salzburger Landestheater in Salzburg 2015, and by the Staatstheater am Gärtnerplatz in Munich in 2015/2016. The first mezzo-soprano to record the role was Frederica von Stade in 1980, followed by Cecilia Bartoli . Scene 1: A village,

448-466: A recital tour called "Malibran" in order to revive Malibran's memory, singing pages from the singer's favourites in Venice. The mezzo-soprano Cecilia Bartoli dedicated her 2007 album Maria to the music composed for Malibran and her most famous roles, as well as an extensive tour and DVD concert dedicated to La Malibran. In 2008 Decca released a recording Bellini's La Sonnambula with Cecilia Bartoli in

504-410: A similar range are called " countertenors ". The Italian terms "contralto" and " alto " are not synonymous, "alto" technically denoting a specific vocal range in choral singing without regard to factors like tessitura , vocal timbre , vocal facility, and vocal weight . However, there exists some French choral writing (including that of Ravel and Poulenc ) with a part labelled "contralto", despite

560-558: A slightly different timbre and texture) as their male counterparts. Some of the rare female singers who specialized in the tenor and baritone registers include film actress Zarah Leander , the Iranian āvāz singer Hayedeh , the child prodigy Ruby Helder (1890–1938), and Bavarian novelty singer Bally Prell . Within the contralto voice type category are three generally recognized subcategories: coloratura contralto , an agile voice specializing in florid passages; lyric contralto ,

616-537: A subject for the following winter's opera became more urgent. That Pasta owned a house near Como and would be staying there over the summer was the reason that Felice Romani traveled to meet both her and Bellini. By 15 July they had decided on a subject for early 1831, but it was uncertain as to whether Pasta was interested in singing a trousers role , that of the protagonist, Ernani, in an adaptation of Victor Hugo's Hernani , later set to music by Giuseppe Verdi in 1844. With both men having various other commitments, by

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672-508: A voice lighter in timbre; and dramatic contralto , a deep, dark, and bold contralto voice. The coloratura contralto was a favorite voice type of Rossini's . Many of his roles listed below were written with this type of voice in mind. Lyric contraltos are heavily utilized in both the French and English operatic repertoire. Many of the Gilbert and Sullivan contralto roles are best suited with

728-402: Is a type of classical female singing voice whose vocal range is the lowest female voice type . The contralto's vocal range is fairly rare, similar to the mezzo-soprano , and almost identical to that of a countertenor , typically between the F below middle C (F 3 in scientific pitch notation ) to the second F above middle C (F 5 ), although, at the extremes, some voices can reach

784-420: Is innocent because she did not come to his room awake – she is a somnambulist, a sleepwalker: (Duet, first Elvino Signor Conte, agli occhi miei / negar fede non poss'io / "I cannot deny, my lord, what my eyes have seen"; then Rodolfo V'han certuni che dormendo / "Certain people when they sleep go about as if awake".) Elvino refuses to believe him and calls upon Lisa to leave, but at that moment Teresa begs

840-714: Is inscribed on Bellini's tomb in the Catania Cathedral in Sicily. Returning to Milan after the I Capuleti e i Montecchi performances in March 1830, little occurred until the latter part of April when Bellini was able to negotiate a contracts with both the Milan house for the autumn of 1831 and another for the 1832 Carnival season at La Fenice in Venice; these operas were to become Norma for La Scala and Beatrice di Tenda for Venice. Writing to his uncle in Sicily,

896-570: Is most closely associated with the operas of Rossini . The composer extolled her virtues: Ah! That wonderful creature! With her disconcerting musical genius she surpassed all who sought to emulate her, and with her superior mind, her breadth of knowledge and unimaginable fieriness of temperament she outshone all other women I have known.... Among other operas, she sang the title role in Tancredi and in Otello , in which it appears that she sang both

952-489: Is not in doubt, and, as Weinstock comments, "he was as ready as most other composers of his era to reuse in a new situation musical passages created for a different, earlier one". During Bellini's lifetime another sfogato , Maria Malibran , was to become a notable exponent of the role of Amina. With its pastoral setting and story, La sonnambula was an immediate success and is still regularly performed. The title role of Amina (the sleepwalker ) with its high tessitura

1008-448: Is renowned for its difficulty, requiring a complete command of trills and florid technique, but it fitted Pasta's vocal capabilities, her soprano also having been described as a soprano sfogato , one which designates a contralto who is capable—by sheer industry or natural talent—of extending her upper range and being able to encompass the coloratura soprano tessitura . The opera's premiere performance took place on 6 March 1831,

1064-441: Is that they may play only "witches, bitches, or britches ." Examples of contralto roles in the standard operatic repertoire include the following: indicates a role that may also be sung by a mezzo-soprano . La sonnambula The role of Amina was originally written for the soprano sfogato Giuditta Pasta and the tenor Giovanni Battista Rubini , but during Bellini's lifetime another soprano sfogato, Maria Malibran ,

1120-451: Is unable to tear her image from his heart: (Aria, then chorus: Ah! Perché non posso odiarti, infedel, com'io vorrei! / "Why cannot I despise you, faithless, as I should?") Scene 2: The village, as in act 1 Lisa, Alessio, Elvino and the villagers are in the square. Elvino declares that he will renew his vows and proceed to marry Lisa. She is delighted. As they are about to go to the church, Rodolfo enters and tries to explain that Amina

1176-726: The Metropolitan Opera in 1963, where the role become one of her most significant successes. While not part of the standard repertory, La sonnambula is performed reasonably frequently in the 21st century. It has been given three productions with Natalie Dessay , the first at the Santa Fe Opera in 2004, the second in Paris in January/February 2010, and the third at the Metropolitan Opera in 2009,

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1232-436: The 1950s bel canto revivals up to the publication of his book in 1971. The opera was rescued from the ornamental excesses and misrepresentations more similar to the baroque style than the bel canto of Bellini when it was sung by Maria Callas in the now-famous 1955 production by Luchino Visconti at La Scala . Contributing to the revivals were Joan Sutherland 's taking the role of Amina at Covent Garden in 1961 and at

1288-792: The Belgian violinist Charles Auguste de Bériot . The pair lived together as a common-law couple for six years and a child was born to them in 1833 (the piano pedagogue Charles-Wilfrid de Bériot ), before Maria obtained an annulment of her marriage to Malibran. Felix Mendelssohn wrote an aria accompanied by a solo violin especially for the couple. Malibran sang at the Paris Opera among other major opera houses. In Paris, she met and performed with Michael Balfe . In 1834, Malibran moved to England and began to perform in London and Europe. In Venice, she performed Vincenzo Bellini 's La sonnambula on 8 April 1835, where she donated her performance to

1344-591: The Count picks up. He sees the approaching phantom whom he recognises as Amina. She enters the room, walking in her sleep, all the while calling for Elvino and asking where he is. Realising that her nocturnal wanderings have given rise to the story of the village phantom, Rodolfo is about to take advantage of her helpless state. But then he is struck by her obvious innocence and refrains: (Scene: first Rodolfo: O ciel! che tento / "God! What am I doing?"; then, separately, Amina: Oh! come lieto è il popolo / "How happy all

1400-428: The D below middle C (D 3 ) or the second B ♭ above middle C (B ♭ 5 ). The contralto voice type is generally divided into the coloratura, lyric, and dramatic contralto. "Contralto" is primarily meaningful only in reference to classical and operatic singing, as other traditions lack a comparable system of vocal categorization . The term "contralto" is only applied to female singers; men singing in

1456-812: The Romeo role in two other then-famous operas: Giulietta e Romeo by Zingarelli and Giulietta e Romeo by Vaccai . Bellini wrote a new version of his I puritani to adapt it to her mezzo-soprano voice and even promised to write a new opera especially for her, but he died before he was able to do so. Malibran's tessitura (comfortable vocal range ) was remarkably wide, from E♭ below middle C to high C and D, which allowed her easily to sing roles for contralto as well as high soprano. Her contemporaries admired Malibran's emotional intensity on stage. Rossini, Donizetti, Chopin , Mendelssohn and Liszt were among her fans. The painter Eugène Delacroix however, accused her of lacking refinement and class and of trying to "appeal to

1512-533: The art can acquire." Notable Roles: She is the patroness of Teatro Malibran in Venice, where her cameo hangs above the stage. The Library of the Royal Conservatory of Brussels possesses an important collection of scores, documents and objects from the diva, assembled in the Maria Malibran fund . Several films depict the life of Maria Malibran: In 1982, soprano Joan Sutherland did

1568-435: The banker's promise to give Manuel García 100,000 francs. However, according to other accounts, she married simply to escape her tyrannical father. A few months after the wedding, her husband declared bankruptcy, and Maria was forced to support him through her performances. After a year, she left Malibran and returned to Europe. In Europe, Malibran sang the title role at the premiere of Donizetti 's Maria Stuarda . The opera

1624-489: The beauty of Amina: In Elvezia non v'ha rosa / fresca e cara al par d'Amina / "In Switzerland there is no flower sweeter, dearer than Amina". Then Amina comes out of the mill with her adoptive mother, Teresa, the mill owner. Amina thanks her, also expressing her thanks to her assembled friends for their kind wishes. (Aria: Come per me sereno / oggi rinacque il di! / "How brightly this day dawned for me".) Additionally, she thanks Alessio, who tells her that he has composed

1680-422: The castle, whose lord has been dead for four years. When Teresa explains that his son had vanished some years previously, the stranger assures them that he is alive and will return. As darkness approaches the villagers warn him that it is time to be indoors to avoid the village phantom: A fosco cielo, a notte bruna,/ al fioco raggio d'incerta luna / "When the sky is dark at night, and the moon's rays are weak, at

1736-620: The church after a public funeral before being moved to a mausoleum in Laeken Cemetery , near Brussels in Belgium. The Library of The Royal Conservatory of Brussels conserves, amongst others, the death mask, the poignant four-page funerary report of Dr. Belluomini as well as the authorisation of the Manchester ecclesiastical authority to have Malibran's body transferred to Brussels (Maria Malibran fund, B-Bc; FC-2-MM-006 sq.). Malibran

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1792-497: The composer reported that "I shall earn almost twice as much as if I had composed [only for the Venetian impresario]". However, there was also a contract for a second Milan house for the following winter season for as-yet an unnamed opera, but it had already been agreed that Giuditta Pasta , who had achieved success in Milan in 1829 and 1830 appearing in several major operas, would be the principal artist. Then Bellini experienced

1848-527: The dilapidated Teatro San Giovanni Grisostomo, inspiring its restoration. It was renamed Teatro Malibran and she was hailed and venerated as its patroness. In late May 1836, she starred in The Maid of Artois , written for her by Balfe. Earlier that year she had returned to Milan to sing the title role in the premiere of Vaccai's Giovanna Gray . In July 1836, Malibran fell from her horse and suffered injuries from which she never recovered. She refused to see

1904-414: The end of November 1830 nothing had been achieved in the way of writing either the libretto or the score of Ernani but, by January, the situation and the subject had changed. Bellini wrote that "[Romani] is now writing La sonnambula, ossia I Due Fidanzati svezzeri ...It must go on stage on 20 February at the latest." That music which he was beginning to use for Ernani was transferred to Sonnambula

1960-479: The gloomy thunder's sound [...] a shade appears." Not being superstitious, he assures them that they will soon be free of the apparition. Elvino is jealous of the stranger's admiration of Amina; he is jealous even of the breezes that caress her, but he promises her he will reform. (Duet finale, Elvino and Amina: Son geloso del zefiro errante / che ti scherza col crin e col velo / "I envy the wandering breeze that plays with your hair, your veil"). Scene 2: A room in

2016-502: The heart is everything!". (Elvino's aria, then Amina, then all express their love and their joy: Prendi: l'anel ti dono / che un dì recava all'ara / "Here, receive this ring that the beloved spirit who smiled upon our love wore at the altar".) The sound of horses' hooves and a cracking whip is heard. A stranger arrives, asking the way to the castle. Lisa points out that it is getting late and he will not reach it before dark and she offers him lodging at her inn. When he says that he knows

2072-408: The inn Lisa enters Rodolfo's room to see if all is well. She reveals that his identity is known to all as Rodolfo, the long-lost son of the count. She advises him that the village is preparing a formal welcome; meanwhile she wishes to be the first to pay her respects. She is flattered when he begins a flirtation with her, but runs out at the sound of people approaching, dropping her handkerchief which

2128-584: The inn, all are surprised. (Rodolfo's aria: Vi ravviso, o luoghi ameni, / in cui lieti, in cui sereni / "O lovely scenes, again I see you, / where in serenity I spent the calm and happy days of my earliest youth".) The newcomer, who surprises the villagers by his familiarity with the locality, asks about the celebrations and admires Amina, who reminds him of a girl he had loved long ago. ( Tu non sai con quei begli occhi / come dolce il cor mi tocchi / "You can't know how those dear eyes gently touch my heart, what adorable beauty".) He admits to having once stayed in

2184-511: The lead role using many cadenzas that la Malibran herself used and which restored the tessitura of the role to the high mezzo-soprano range (as Giuditta Pasta and Maria Malibran had sung it). In 2013 Decca did it again with Bellini's Norma , casting Bartoli as the title role and Sumi Jo as Adalgisa. Letitia Elizabeth Landon includes a poetic tribute, in miniature, in The English Bijou Almanack, 1837. She appears as

2240-681: The lessons he gave his daughter became constant quarrels between two powerful egos. Malibran first appeared on stage in Naples with her father in Ferdinando Paër 's Agnese , when she was eight years old. When she was 17, she was a singer in the choir of the King's Theatre in London . When prima donna Giuditta Pasta became indisposed, García suggested that his daughter take over in the role of Rosina in The Barber of Seville . The audience loved

2296-445: The masses who have no artistic taste." Describing her voice and technique, French critic Castil-Blaze wrote, "Malibran's voice was vibrant, full of brightness and vigor. Without ever losing her flattering timbre, this velvet tone that has given her so much seduction in tender and passionate arias. [...] Vivacity, accuracy, ascending chromatics runs, arpeggios , vocal lines dazzling with strength, grace or coquetry, she possessed all that

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2352-491: The name of Pauline Viardot , was then only four years old. This was the first time that Italian opera was performed in New York City . Over a period of nine months, Maria sang the lead roles in eight operas, two of which were written by her father. In New York, she met and hastily married a banker, Francois Eugene Malibran, who was 28 years her senior. It is thought that her father forced Maria to marry him in return for

2408-799: The opera was performed in London on 28 July 1831 at the King’s Theatre and in New York on 13 November 1835 at the Park Theatre . Herbert Weinstock provides a comprehensive year-by-year listing of performances following the premiere and then, with some gaps, all the way up to 1900. Later, it was a vehicle for showcasing Jenny Lind , Emma Albani and—in the early 20th century—for Lina Pagliughi and Toti Dal Monte . Weinstock gave an account of performances starting in 1905. Stagings were presented as frequently as every two years in one European or North American venue or another, and they continued through

2464-494: The pain that I feel now!"; then the people and Teresa, the former proclaiming her treachery, Teresa pleading for her to be allowed to explain. Elvino then exclaims that there will be no wedding, and each expresses his or her emotional reaction to this discovery. Scene 1: A wood On their way to ask the count to attest to Amina's innocence, the villagers rest in the woods and consider how they will express their support to him: (Chorus: Qui la selva è più folta ed ombrosa / "Here

2520-701: The people are, accompanying us to the church"; then together.) Amina continues her sleepwalk and falls asleep on the sofa, but Rodolfo hears the sound of people approaching and, with no other way out, he climbs out of the window. Amina continues to sleep on the sofa as the villagers arrive at the inn. Lisa enters and points to Amina, who wakes up at the noise. Elvino, believing her faithless, rejects Amina in fury. Only Teresa, her adoptive mother, believes in her innocence: Ensemble finale, first Amina D'un pensiero e d'un accento / "In my thought or in my words never, never have I sinned"; then Elvino: Voglia il cielo che il duol ch'io sento / "Heaven keep you from feeling ever

2576-400: The re-occurrence of an illness which had emerged in Venice due to pressure of work and the bad weather, and which consistently recurred after each opera. The gastro-enteric condition—which he described as "a tremendous inflammatory gastric bilious fever"— resulted in his being cared for by friends. It was not until the summer, when he went to stay near Lake Como, that the pressure to decide upon

2632-948: The roles of Desdemona and of Otello. Other appearances included those in Il turco in Italia , La Cenerentola , and Semiramide (both Arsace and the title role). She also sang in Giacomo Meyerbeer 's Il crociato in Egitto in Paris in September 1825, an opera which Rossini, as director of the Théâtre-Italien, introduced to the French capital and "which launched Meyerbeer's European reputation". Malibran enjoyed great success in Bellini 's operas Norma , La sonnambula and I Capuleti e i Montecchi (as Romeo). She also sang

2688-418: The sleeping Amina walking across the high, dangerously unstable mill bridge, warns that to wake her would be fatal. All watch as she relives her betrothal and her grief at Elvino's rejection, taking the withered flowers in her hand. (Aria: Amina Ah! non credea mirarti / sì presto estinto, o fiore / "I had not thought I would see you, dear flowers, perished so soon".) Then as she reaches the other side safely,

2744-558: The tessitura and function being that of a classical alto part. The Saracen princess Clorinde in André Campra 's 1702 opera Tancrède was written for Julie d'Aubigny and is considered the earliest major role for bas-dessus or contralto voice. The contralto has the lowest vocal range of the female voice types , with the lowest tessitura ; it is between tenor and mezzo-soprano . Although tenors, baritones, and basses are male singers, some women can sing as low (albeit with

2800-429: The villagers to be quiet, because Amina has at last fallen into an exhausted sleep. Learning of the impending marriage, Teresa confronts Lisa, who says that she has never been found alone in a man's room. Teresa produces the handkerchief Lisa had accidentally dropped in the Count's room. The Count is unwilling to say what he thinks of this, but continues to insist on Amina's virtue. Elvino demands proof and Rodolfo, seeing

2856-454: The wedding song and organised the celebrations; she wishes him well in his courtship of Lisa, but Lisa cynically rejects the idea of love. Elvino arrives, exclaiming Perdona, o mia diletta / "Forgive me my beloved", and explaining that he had to stop on his way at his mother's grave to ask her blessing on Amina. As they exchange vows, the notary asks what she brings to the partnership: "Only my heart" she answers at which Elvino's exclaims: "Ah

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2912-406: The wood is thick and dark"). Amina and Teresa arrive and are on a similar mission, but Amina is despondent, although Teresa encourages her daughter to continue. They then see Elvino coming in the wood looking downcast and sad. He continues to reject Amina, even when the townspeople come in with the news that the count says that she is innocent. Elvino is not convinced and takes back the ring, though he

2968-416: The young mezzo, and she continued to sing this role until the end of the season. When the season closed, García immediately took his operatic troupe to New York. The troupe consisted primarily of the members of his family: Maria, her brother, Manuel , and their mother, Joaquina Sitches , also called "la Briones". Maria's younger sister, Pauline , who would later become a famous singer in her own right under

3024-672: Was a notable exponent of the role. The first performance took place at the Teatro Carcano in Milan on 6 March 1831. The majority of twentieth-century recordings have been made with a soprano cast as Amina, usually with added top-notes and other changes according to tradition, although it was released in soprano sfogato voice (not be confused with the modern mezzo , nonexistent at the time) who sang soprano and contralto roles unmodified. The phrase Ah! non credea mirarti / Sì presto estinto, o fiore ("I did not believe I would see you fade so soon, oh flower") from Amina's final aria

3080-426: Was based on Friedrich Schiller 's play Mary Stuart , and as it portrayed Mary, Queen of Scots in a sympathetic light, censors demanded textual amendments, which Malibran often ignored. The Library of the Royal Conservatory of Brussels conserves a series of interesting coloured costume projects for this play, created by Malibran, revealing her unsuspected drawing talent. Malibran became romantically involved with

3136-477: Was born into a famous Spanish musical family in Paris . Her mother was Joaquina Sitches , an actress and operatic singer. Her father Manuel García was a celebrated tenor much admired by Rossini , having created the role of Count Almaviva in his The Barber of Seville . García was also a composer and an influential vocal instructor, and he was her first voice teacher. He was described as inflexible and tyrannical;

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