Ignatz Moscheles in London - 1836
from Recent Music and Musicians, page 225:
Did Balfe intend her to do battle with those incredibly difficult passages at the beginning, or were they improvised by her on the spur of the moment? I can't say; somehow or other the enchantress conjured them forth. I don't like her so well in Fidelio, and prefer our own unrivalled Schröder-Devrient in the part. Malibran's forte lies in passionate acting, which contrasts too violently with the enduring womanly love of Fidelio, and why she brings two pistols into the prison, neither I nor any one else can understand.
cite as
Ignatz Moscheles, and Charlotte Moscheles (ed.), Recent Music and Musicians (New York, 1879), p. 225. https://led.kmi.open.ac.uk/entity/lexp/1430235390167 accessed: 12 November, 2024
Listeners
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Fidelio
written by Beethoven, Beethoven |
performed by Maria Malibran |
Opera
written by Michael Balfe |
performed by Maria Malibran |
Experience Information
Date/Time | 1836 |
Medium | live |
Listening Environment | in the company of others, indoors, in public |
Originally submitted by mallen on Tue, 28 Apr 2015 16:36:30 +0100