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

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text excerpt

[…] Braham and Miss Stephens, left silent too long, were again heard, but neither to the best advantage. He had to sing only the common recitatives between the parts of the chorus, “The Lord shall reign,” which are generally given to a secondary singer, and she the short solo (between recitative and song) “Sing ye to the Lord,” which again was rather beyond her present powers, and she did not give it with that force and electrifying effect which perhaps none but a Mara or a Catalani could impart to it. The very grand and most impressive chorus, “The horse and his rider,” closed the day’s performance.

[…] Braham and Miss Stephens, left silent too long, were again heard, but neither to the best advantage. He had to sing only the common recitatives between the parts of the chorus, “The Lord shall reign,” which are generally given to a secondary singer, and she the short solo (between recitative and song) “Sing ye to the Lord,” which again was rather beyond her present powers, and she did not give it with that force and electrifying effect which perhaps none but a Mara or a Catalani could impart to it. The very grand and most impressive chorus, “The horse and his rider,” closed the day’s performance.

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. 269 (115 words)

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1448981024747