malibran

Maria Malibran (1808 – 1836) was a Spanish mezzo-soprano who commonly sang both contralto and soprano parts, and was one of the most famous opera singers of the 19th century. Malibran was known for her stormy personality and dramatic intensity, becoming a legendary figure after her death at age 28. Contemporary accounts of her voice describe its range, power and flexibility as extraordinary.

A HARMONIA

Meu Deus! se às vezes, na passada vida,
Eu tive sensações que emudeciam
Essa descrença que me dói na vida
E, como orvalho que a manhã vapora,
Em seus raios de luz a Deus me erguiam
Foi quando às vezes a modinha doce
Ao sol de minha terra me embalava
E quando as árias de Bellini pálido
Em lábios de Italiana estremeciam!

Ó santa Malibran! fora tão doce
Pelas noites suaves do silêncio
Nas lágrimas de amor, nos teus suspiros,
Na agonia de um beijo, ouvir gemendo
Entre meus sonhos tua voz divina!

Ó Paganini! quando moribundo
Inda a rabeca ao peito comprimias,
Se o hálito de Deus, essa alma d’anjo
Que das fibras do peito cavernoso
Arquejava nas cordas entornando
Murmúrios d’esperança e de ventura,
Se a alma de teu viver roçou passando
Nalgum lábio sedento de poesia,
Numa alma de mulher adormecida,
Se algum seio tremeu ao concebê-lo…
Esse alento de vida e de futuro
— Foi o teu seio, Malibran divina!

Ah! se nunca te ouvi, se teus suspiros,
Desdêmona sentida e moribunda,
Nunca pude beber no teu exílio…
Nos sonhos virginais senti ao menos
Tua pálida sombra vaporosa
Nesta fronte que a febre encandecera
Depor um beijo, suspirar passando!

Meu Deus! e, outrora, se um momento a vida
De poesia orvalhou meus pobres sonhos,
Foi nuns suspiros de mulher saudosa,
Foi abatida, a forma desmaiada,
Uma pobre infeliz que descorando
Fazia os prantos meus correr-me aos olhos!

Pobre! pobre mulher! esses mancebos
Que choravam por ti… quando gemias,
Quando sentias a tua alma ardente
No canto esvaecer, pálida e bela,
E teu lábio afogar entre harmonias
— Almas que de tua alma se nutriam!
Que davam-te seus sonhos, e amorosas
Desfolhavam-te aos pés a flor da vida…
Ai quantas não sentiste palpitantes,
Nem ousando beijar teu véu d’esposa,
Nas longas noites nem sonhar contigo!

E hoje riem de ti! da criatura
Que insana profanou as asas brancas!…
Que num riso sem dó, uma por uma,
Na torrente fatal soltava rindo,
E as sentia boiando solitárias…
As flores da coroa, como Ofélia!…
Que iludida do amor vendeu a glória
E deu seu colo nu a beijo impuro…
Eles riem de ti!… mas eu, coitada,
Pranteio teu viver e te perdôo.

Fada branca de amor, que sina escura
Manchou no teu regaço as roupas santas?
Por que deixavas encostada ao seio
A cabeça febril do libertino?
Por que descias das regiões doiradas
E lançavas ao mar a rota lira
Para vibrar tua alma em lábios dele?
Por que foste gemer na orgia ardente
A santa inspiração de teus poetas…
Perder teu coração em vis amores?
Anjo branco de Deus, que sina escura
Manchou no teu regaço as roupas santas?

Pálida Italiana! hoje esquecida.
O escárnio do plebeu murchou teus louros!
Tua voz se cansou nos ditirambos…
E tu não voltas com as mãos na lira
Vibrar nos corações as cordas virgens
E ao gênio adormecido em nossas almas
Na fronte desfolhar tuas coroas!…
……………………………………………………………………

Álvares de Azevedo

youtube

Hidden treasures - Michael Balfe - Cantata for Maria Malibran (1836) - “Sempre pensoso”   Manuela Custer - Vocalist,
Richard Bissill - Horn,
David Harper - Piano.

9

Bebe Neuwirth and Friends (1 of 4): In Character, On Set

  • Sweet Charity (1986 Revival)–Debbie Allen as Charity, Bebe Neuwirth as Nicki, Allison Williams as Helene
  • Cheers (S10ep16 “One Hugs, The Other Doesn’t” 1992)–Bebe Neuwirth as Lilith Sternin, Emma Thompson as Nanny G
  • Damn Yankees (1994 Revival)–Victor Garber as Mr. Applegate, Bebe Neuwirth as Lola
  • Chicago (1997 Revival)–Bebe Neuwirth as Velma Kelly, Ann Reinking as Roxie Hart
  • How to Lose A Guy in 10 Days (2003)–Kate Hudson as Andie Anderson, Bebe Neuwirth as Lana Jong
  • Will & Grace (S6ep19 “No Sex ‘N’ the City” 2004)–Megan Mullally as Karen Walker, Sean Hayes as Jack McFarland, Bebe Neuwirth as herself
  • The Addams Family Musical (2010)–Bebe Neuwirth as Morticia Addams, Nathan Lane as Gomez Addams
  • The Golden Age (2012)–Lee Pace as Vincenzo Bellini, Bebe Neuwirth as Maria Malibran
  • The Good Wife (s4ep16 “Runnin’ with the Devil” 2013)–Bebe Neuwirth as Judge Claudia Friend, Audra McDonald as Liz Lawrence, Tracie Thoms as Judy Bishop
youtube

Geori Boué, the French coloratura soprano, sings the Willow Song from Rossini’s Otello in a biopic of the great nineteenth-century mezzo Maria Malibran (1944)

This is a bit like asking Natalie Dessay to play Clara Butt. (Or Kiri Te Kanawa to play Nellie Melba—dearly as I love them both.)

anonymous asked:

I love your background with all the pictures -- is there some key that identitifies the pictures?

Thank you very much! Here is the key:

1.Gambarini (de), Elisabetta (1731-1765, England)
2. Garūta, Lūcija (1902-1977, Latvia)
3. Gipps, Ruth (1921-1999, England)
4. Glanville-Hicks, Peggy (1912-1990, Australia)
5. Gonzaga, Chiquinha (1847-1935, Brazil)
6. Grandval (de), Clémence (1828-1907, France)
7.Grøndahl-Backer, Agathe (1847-1907, Norway)
8. Gubitosi, Emilia (1887-1972, Italy)
9.Guy-Rhodes, Helen (Guy d’Hardelot) (1858-1936, France)
10.Mendelssohn-Hensel, Fanny(1805-1847, Germany)

11. Farrenc, Louise (1804-1875, France)
12. Fuchs, Lillian (1901-1995, USA)
13. Gail, Sophie (1775-1819, France)

14. Carreño, Teresa (1853-1917, Venezuela)
15. Carwithen, Doreen (1922-2003, England)
16. Casulana, Maddalena (c.1544 – c.1590, Italy)
17. Chaminade, Cécile (1857-1944, France)
18. Clarke, Rebecca (1886-1979, England)
19. Colbran, Isabella (1785-1845, Spain)
20. Demessieux, Jeanne Marie Madeleine (1921-1968, France)
21. Dring, Madeleine (1923-1977, England)
22. Dussek, Sophia Giustina (1775-1831, Scotland)
23. Eckhardt-Gramatté, Sophie-Carmen (1901-1974,Canada)

24. Bonds, Margaret (1913-1972, USA)
25. Bottini, Marianna (1802-1858, Italy)
26. Boulanger, Lili (1893-1918, France)
27. Boulanger, Nadia (1887-1979, France)
28. Boyle, Ina (1889-1967, Ireland)
29. Caccini, Francesca (1587-1641, Italy) *

30. Bembo, Antonia (c.1643 – before 1715, Italy)
31. Bertin, Louise (1805-1877, France)
32. Blahetka, Leopoldine (1810-1887, Austria)
33. Bon, Anna (c.1739-?, Italy)
34. Bonis, Mélanie (Mel Bonis) (1858-1937, France)
35. Bosmans, Henriëtte Hilda (1895-1952, Netherlands)

36. Agnesi Pinottini, Maria Teresa (1720-1795, Italy)
37. Aulin, Valborg (1860-1928, Sweden)
38. Alexandra, Liana (1947-2011, Romania)
39. Andrée, Elfrida (1841-1929, Sweden)
40. Auster, Lydia (1912-1993, Estonia)
41. Bacewicz, Grażyna (1909-1969, Poland)
42. Bądarzewska-Baranowska, Tekla (1834-1861, Poland)
43. Barraine, Elsa (1910-1999, France)
44. Bauer, Marion (1882-1955, USA)
45. Beach, Amy (1867-1944, USA)

46. Strozzi, Barbara (1619-1677, Italy)
47. Suesse, Nadine Dana (1909-1987, USA)
48. Szymanowska, Maria Aghate (1789-1831, Poland)
49. Tailleferre, Germaine (1892-1983, France)
50. Tegnér, Alice (1864-1943, Sweden)
51. Viardot, Pauline (1821-1910, France)
52. White, Maude Valérie (1855-1937, England)
53. Wilhelmina (Wilhelmine, Friederike Sophie), Princess of Prussia (1709-1758, Germany)
54. Williams,  Grace Mary (1906-1977, Wales)
55. Qu, Xixian (1919-2008, China)

56. Müller-Hermann, Johanna (1868-1941, Austria)
57. Musgrave, Thea (1928, Scotland)
58. Netzel, Laura Clarence (N. Lago)(1839-1927, Sweden)
59. Pejačević, Dora (1885-1923, Croatia)
60. Price, Florence Beatrice (1887-1953, USA)
61. Renié, Henriette (1875-1956, France)
62. Schumann-Wieck, Clara (1819-1896, Germany)
63. Senfter, Johanna (1879-1961, Germany)
64. Smith, Alice Mary (1839-1884, England)
65. Smyth, Ethel (1858-1944, England)

66. Röntgen-Maier, Amanda  (1853-1894, Sweden)
67. Malibran, Maria (1808-1836,Spain)
68. Martinez (von), Marianne (1744-1812, Austria)
69. Mayer, Emilie (1821-1883, Germany)
70. Meda, Bianca Maria (1665-1700, Italy)
71. Montgeroult (de), Hélène (1764-1836, France)

72. Leonarda, Isabella (1620-1704, Italy)
73. Levina, Zara Alexandrovna (1906-1976,Russia)
74. Lombardini-Sirmen, Maddalena Laura (1745-1818, Italy)
75. Lund, Signe (1868-1950, Norway)
76. Maconchy, Elizabeth Violet (1907-1994, England)
77. Mahler, Alma (1879-1964, Austria)

78. Hildegard von Bingen (1098-1179, Germany)
79. Jaëll, Marie (1846-1925, France)
80. Jacquet de la Guerre, Élisabeth-Claude  (1665-1729, France) 
81. Holmès, Augusta  (1847-1903, France)
82. Kaprálová, Vítězslava (1915-1940, Czech Republic)
83. Kassia (805/810 - before 865, Byzantine Empire)
84. Kessler, Minuetta (1914-2002, Canada)
85. Kinkel, Johanna (1810-1858, Germany)
86. Lang, Josephine (1815-1880, Germany)
87. Le Beau, Luise Adolpha (1850-1927, Germany)


♪♫ Clara Schumann - 3 Romances for Piano (Op.11), No. 1, Andante, in Ebm
♪♫ Lili Boulanger - Vieille Prière Bouddhique


* This painting (The Lute Player by Orazio Gentileschi) is wrongly thought to represent Francesca Caccini.

Themostrandomfandom’s Author Interview

Yes, we have saved some heavy hitters for this last week of BrittanaCon Author Interviews!  We aren’t sure if you’ve heard of this quiet little fandom genius who goes by JJ or themostrandomfandom but you should probably go check out her stuff if you haven’t. ;)  Not only is she the best Brittanalyzer around, she’s written on of the most moving and epic Brittana stories to ever exist, The Knife Thrower’s Daughter.  She’s been a big supporter of our Con, we can’t wait for the second annual Dramatic Reading of JJ’s Tags at this year’s convention!!!  Thanks so much to JJ for her support and for taking the time to answer the plethora of questions we sent and thank you to all who submitted them!  Enjoy!

1) What do you think are your particular strengths as a Brittana writer? What do you wish you did better? (Submitted by Lindsey via email)

One of my strengths as a Brittana writer is my ability to write “quiet Brittana” (i.e., Brittany and Santana just enjoying private, low-key moments together). Another one of my strengths as a Brittana writer is in allowing Brittana’s gestures to do a lot of “work” within my prose.

Something I wish I could do better as a Brittana writer would be to write “Snix.” In canon, Santana can be truly caustic, even though I think that, at her core, she is an inherently sweet and vulnerable person. When I write Santana, I tend to heavily favor her sweetness over her edge. It is very difficult for me to write Santana being genuinely mean to people, so I always tend to always vindicate her or even downplay or sidestep some of the harsher things she says.

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