Garcia the Centenarian and His Times: Being a Memoir of Manuel Garcia's Life and Labours for the Advancement of Music and ScienceMackinlay, M. (Malcolm) Sterling
History
Garcia the Centenarian and His Times: Being a Memoir of Manuel Garcia's Life and Labours for the Advancement of Music and Science
1868, in which Disraeli assumed the helm of State as Prime Minister, saw
the advent of Antoinette Sterling, who came on to Garcia from Cologne,
where she had been studying under Mathilde Marchesi.
The letter which the maestro sent to Signor Marchesi, after hearing the
contralto, I am able to quote:--
_Translation._
LONDON, _July_ 17, 1864.
_To_ SIGNOR S. DE C. MARCHESI, Professor at the Conservatoire of
Music, Cologne.
MOST ESTEEMED SIGNOR MARCHESI,--Miss Sterling, whom I have already
heard several times, possesses a beautiful voice, but she is still
a beginner. In every way I will do what little I can to continue
the very excellent direction given to the studies of the young lady
by your wife, to whom I beg you to present my most distinguished
salutations. Pray accept the same yourself from your sincere
friend,
MANUEL GARCIA.
I am very grateful for the recommendation. Farewell.
Antoinette Sterling ever regarded Señor Garcia with the greatest
affection and esteem, and used to delight in recalling the following
memories of the days when she had studied with him. I have set them down
before in the little memoir of her career already published.
When Miss Sterling, as she then was, went to the maestro for lessons, he
was so carried away with the voice of his new pupil that he could not
bring himself to keep her to exercises, as was his custom in the case of
others. Almost at once he began taking her through all the Italian
operatic _rôles_. One day she was struggling to execute a particularly
difficult phrase, and at last burst out crying, "You ought not to give
me these songs until I have mastered the exercises properly." "You're
quite right," he answered, and took her back to the exercises once more.
Until Antoinette Sterling commenced her training under him she used the
full extent of her voice, singing from the D below middle C to the top
soprano C sharp--a range of three octaves. She sang all the contralto
arias from opera and oratorio, and at the same time felt equally at home
with the soprano _rôles_.
[Illustration: Photo by Elliott & Fry, Baker Street, London, W.
Handwritten: Antoniette Sterling MacKinlay]
Public-domain text, read in full here on John Shaqi.
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