Life of Henriette Sontag, Countess de Rossi.: with Interesting Sketches by Scudo, Hector Berlioz, Louis Boerne, Adolphe Adam, Marie Aycard, Julie de Margueritte, Prince Puckler-Muskau & Theophile Gautier.
General
Life of Henriette Sontag, Countess de Rossi.: with Interesting Sketches by Scudo, Hector Berlioz, Louis Boerne, Adolphe Adam, Marie Aycard, Julie de Margueritte, Prince Puckler-Muskau & Theophile Gautier.
Sontag, Henriette, 1806-1854
Availing herself of a leave of absence which had been granted her, M'lle
Sontag came finally to Paris, and appeared at the Italian Theatre on the
fifteenth of June, 1826, in the part of _Rosina_ in _Il Barbiere di
Seviglia_. Her success was brilliant, especially in Rode's variations,
which she introduced in the second act during the singing lesson. This
success she at once confirmed and increased in _La Donna del Lago_ and
_L'Italiana in Algieri_; many passages of which, written for a contralto
voice, she was obliged to transpose. Upon her return to Berlin she was
received with redoubled manifestations of interest. She remained in this
city until the close of the year 1826; when, abandoning Germany, and the
school which had formed her in the very sanctuary of its nationality,
she fixed herself at Paris. M'lle Sontag first appeared in the character
of _Desdemona_ in the opera _Otello_, on the second of January, 1828.
She was one of that constellation of admirable virtuosos who at that
epoch charmed Paris and London; and among whom Madame Pasta, Mad.
Pisaroni, Mad. Malibran, and M'lle Sontag shone as stars of the first
magnitude.
Between the last two vocalists, so different in their styles, there was
declared one of those fruitful rivalries of which Hoffman has given us
so dramatic a picture. This rivalry was pushed so far between the
imperious Juno and the blonde Venus that they could not remain together
in the same room. Upon the stage, when they sang in the same opera,
which happened in _Don Giovanni_ or _Semiramide_, their stupendous
jealousy manifested itself by malicious cadenzas and rockets of sound
which inflamed their hearers. Now it was the Trojans burst all bonds,
and now the Greeks. The parterre rose and fell like the waves of the sea
under the touch of the divinities of Olympus. At last, one day Mad.
Malibran and M'lle Sontag having to sing a duett at a princely mansion,
the fusion of two voices so different in quality and in the character of
their expression, produced so grand an effect that the success of the
two great vocalists worked their reconciliation. From that moment a calm
rested _sul mare infido_.
Public-domain text, read in full here on John Shaqi.
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