Musical Reminiscences: Containing an Account of Italian Opera in England, From 1773. The Fourth Edition, Continued to the Present Time, and Including The Festival in Westminster Abbey.

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

134-5

text excerpt

Grassini returned in 1814, but she was no longer what she had been. Her beauty indeed was little diminished, but her acting was more languid and ineffective, at least it appeared so after the more energetic and animated manner of her predecessor. Her voice too was changed; she had endeavoured to regain its upper part, but in so doing she had lost the lower, and instead of a mellow contralto, it was become a hoarse soprano. Still, however, she displayed much of her former grace and style, particularly in her favourite part of Orazia, and in a new opera of Didone by Paër.

Grassini returned in 1814, but she was no longer what she had been. Her beauty indeed was little diminished, but her acting was more languid and ineffective, at least it appeared so after the more energetic and animated manner of her predecessor. Her voice too was changed; she had endeavoured to regain its upper part, but in so doing she had lost the lower, and instead of a mellow contralto, it was become a hoarse soprano. Still, however, she displayed much of her former grace and style, particularly in her favourite part of Orazia, and in a new opera of Didone by Paër.

excerpt from 'Musical Reminiscences: Containing an Account of Italian Opera in England, From 1773. The Fourth Edition, Continued to the Present Time, and Including The Festival in Westminster Abbey.' pp. 134-5 (103 words)

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1446810866600