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. 52-3 (102 words)
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. 52-3 (102 words)
| part of | |
|---|---|
| original language | |
| in pages | 52-3 |
| type | |
| encoded value |
Mara’s talents as a singer (for she was no actress, and had a bad person for the stage) were of the very first order. Her voice clear, sweet, distinct, was sufficiently powerful, though rather thin, and its agility and flexibility rendered her a most excellent bravura singer, in which style she was unrivalled; but she succeeded equally well in some of Handel’s most solemn and pathetic songs, though there appeared to be a want of that feeling in herself, which, nevertheless, she could communicate to her hearers. Her performance in this opera was perfect, and gave entire satisfaction.
Mara’s talents as a singer (for she was no actress, and had a bad person for the stage) were of the very first order. Her voice clear, sweet, distinct, was sufficiently powerful, though rather thin, and its agility and flexibility rendered her a most excellent bravura singer, in which style she was unrivalled; but she succeeded equally well in some of Handel’s most solemn and pathetic songs, though there appeared to be a want of that feeling in herself, which, nevertheless, she could communicate to her hearers. Her performance in this opera was perfect, and gave entire satisfaction. |
| appears in search results as | 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. 52-3 (102 words) |
| reported in source | |
|---|---|
| documented in |