Reminiscences of the Opera

urn:iso:std:iso:639:ed-3:eng

255-6

text excerpt

As Amina in the "Sonnambula," she had an even more difficult trial to sustain. The part was considered the best, as it had been the most celebrated of all the great impersonations of Jenny Lind, whose last performance of it was recent in the memory of all the habitues of Her Majesty's Theatre. The task of Madame Sontag, under such circumstances, was bold, almost hazardous; but again she triumphed. Her charm in the part was so great, that all thought of comparison was effaced from the minds of her listeners. The new Amina was hailed as rapturously as if no rival — much less one who was considered beyond the reach of competition — had ever existed; and, in spite of all prepossessions, her powers as an actress were now universally declared equal to her finished style as a cantatrice. Her rapidly rising progress in public estimation was as steady and sure as her debut had been brilliant.

As Amina in the "Sonnambula," she had an even more difficult trial to sustain. The part was considered the best, as it had been the most celebrated of all the great impersonations of Jenny Lind, whose last performance of it was recent in the memory of all the habitues of Her Majesty's Theatre. The task of Madame Sontag, under such circumstances, was bold, almost hazardous; but again she triumphed. Her charm in the part was so great, that all thought of comparison was effaced from the minds of her listeners. The new Amina was hailed as rapturously as if no rival — much less one who was considered beyond the reach of competition — had ever existed; and, in spite of all prepossessions, her powers as an actress were now universally declared equal to her finished style as a cantatrice. Her rapidly rising progress in public estimation was as steady and sure as her debut had been brilliant.

excerpt from 'Reminiscences of the Opera' pp. 255-6 (158 words)

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