excerpt from 'Letters of composers : an anthology, 1603-1945 / compiled and edited by Gertrude Norman and Miriam Lubell Shrifte.' pp. 134 (228 words)

excerpt from 'Letters of composers : an anthology, 1603-1945 / compiled and edited by Gertrude Norman and Miriam Lubell Shrifte.' pp. 134 (228 words)

part of

Letters of composers : an anthology, 1603-1945 / compiled and edited by Gertrude Norman and Miriam Lubell Shrifte.

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

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134

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The papers and notices I sent you will inform you of my Paris debut. Here are a few details. In Berlioz’s third concert, the aria “Spolie Tchistoïe” got a deal of applause. Soloieva started a bit low but soon took hold of herself. My “Lezghinka,” which, as you know, was written for two orchestras and arranged for one, really an enormous one, lost much of its effect and I am not sure whether it was the arrangement or the execution that made it rather unsuccessful. The result did not come up to my nor Berlioz’s expectation. He likes this piece very much and chose it himself. In the fourth concert Soloieva did not sing so well and in the one I gave at the Salle Hertz she lost her head completely in the middle of the duet from the I Puritani and was unable to appear in the rest of the pieces. Marras saved the situation by singing the cavatina from Elisir d’Amore, which was not on the program. He does this beautifully. Fifty-two musicians from the Italian Theatre played my things in first-rate style and they were well received, especially the scherzo in the form of a waltz. They play this everywhere and it’s going to be published, along with my romance Il Desiderio.

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excerpt from 'Letters of composers : an anthology, 1603-1945 / compiled and edited by Gertrude Norman and Miriam Lubell Shrifte.' pp. 134 (228 words)

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