Portrait of the archetypal diva Maria Malibran

Résumé du document

The Restoration and the Monarchy of July were marked by an intense musical life, with the multiplication of concerts, like those given in the Pleyel salons or the concerts of the Academy of Paris. Democratization of music was underlined by the appearance of divas that were not satisfied anymore by the shine provided by the only prestige of their voices, but were also attentive to the musical quality of their interpretation. Whereas the long reign of the castrati on the opera was ending, the incipient romanticism created a new myth: that of the diva, sublime on the scene, generous in her private life, and a source of adulation everywhere she passed. Maria Malibran is undoubtedly the first diva in history, incarnating a legend which one will not find before Callas. Why did Maria Malibran become so famous, not only during her life but also after her death? What makes her a prototype of the new divas and more generally of the women of the time?

Extraits

[...] She had a contract with the Scala for 180 representations during 3 seasons. A particular talent In Paris at the end of the 1820's, she began to have insurance. The public loved her. She is not only singing well, she plays her roles with intensity. In 1830, she is 22 and very beautiful. II) The archetype of the 1800's women If Maria causes so many comments and passions in Paris of the 18th century, it is because before becoming the 1st diva of her time, she symbolized the new type of woman, born before 1830. [...]

[...] He insists on the sad catalogue of incest, bigamy, hysteria and unwanted pregnancies that shadowed her career. She was n the context of the time, a double- disadvantaged person: actress and woman she cracked under the strain and her death was the only solution to her problems”. In the 50's, the Callas was often compared later with the Malibran. Bibliography Patrick Barbier. La malibran, reine de l'opéra romantique, Pygmalion Editions p. Reparaz C. Maria Malibran : la diva romantique, Perrin p. [...]

[...] She then played at the Scala of Milan. She loved Italy and had conquered the Italians. At Naples, she sang with the tenor Gilbert Guprez. She sang Bellini, Rossini and created Inès de Castro from Giuseppe Persiani. She also went for the first time to Venice and played Otello at the Fenice in march 1835. The Venisians loved her too. She saved from bankruptcy the Emeronittio playing there and refusing to be paid. The opera then took her name. In 1835, went back to London and sang English version of Beethoven's Fidelio. [...]

[...] Her mezzo voice was going from the to the which is extraordinary. She also already had a rich personal repertory and knew Spanish, French, Italian, English and soon German. An international career She was ready to have an international career. In 1825, Maria replaced Giuditta Pasta, who was sick, in the King's Theatre of London and played the role of Rosine in The Barber of Séville. The English public was really enthusiastic days later, she played Felicia in Il Crociato by Meyerbeer. [...]

[...] Her death is a good testimony: stubbornness, will to sing until the limits of her force to die only once the curtain falled. Conclusion After her death, the artistic world celebrated her a lot and she quickly became a legend which led to the forget of some of her vocal defaults: acute sometimes strident and its style was not always very pure. Rossini preferred her sister, Pauline, who was more deeply musician. April Fitzylion wants us to stop deifying her. [...]