Autograph Letter - "not being able to come to Milan...to visit the famous Pasta"

An interesting letter from the important Italian tenor, to his younger colleague, tenor Emmanuele Carrion, mentioning Giuditta Pasta and inviting Carrion and his family to visit him at his home in Romano di Lombardia. Romano, October 16, 1832. Translated from the Italian: "Dear Carrion, Not being able to come to Milan myself to go together, as we had intended, to visit the famous Pasta, [because of] the bad timing, and also finding myself somewhat indisposed, let these few lines serve to tell you that if you ever wish (as you had led me to hope) to come and spend a few days in Romano, there is a room and a warm welcome here for you. You need only tell me the day and the route of the train with which you will arrive in Treviglio [...] Please give my regards to your most charming mother, to Sig. Bussera, and a kiss to your little boy. With my esteem and admiration, your friend, Gio. Batt. Rubini." 1 p. of a bifolium, addressed on the verso to "Sig. Carrion celebre tenore" in Milan. Folding creases, small tear to the rear page repaired with tape, which has affixed the two pages together. Overall in fine condition for its age. 5.75 x 8.25 inches (14.8 x 21 cm).

A rare autograph letter from the Italian tenor, the leading bel canto singer of his day, creator of many important roles by Rossini and Donizetti and remembered in particular for his influence on Bellini, who wrote, among others, I Puritani (1835) expressly with his voice in mind.

The younger tenor Emmanuele Carrion found acclaim in the mid-nineteenth century in roles of Verdi and Rossini, and was even described as a possible heir to Rubini—he was eclipsed, however, by Antonio Giuglini.

Pasta was "the acknowledged 'diva del mondo' during the 1820s, famed not only for an extraordinary if flawed voice, but also for the physicality of her performance modes. Her innovative practices contributed to the development and reconceptualisation of opera’s dramatic potential on the early Romantic stage. Making her reputation in roles such as Medea (Mayr) and Semiramide (Rossini), Pasta later inspired the composition of three of the most striking operatic heroines of the period: Amina in La sonnambula (Bellini) and the title-roles of Norma (again Bellini) and Anna Bolena (Donizetti)." (Susan Rutherford, "La Cantante delle Passioni," Cambridge Opera Journal #19-2, 2007, p. 1) (15328)

---

Autograph Letter

Opera

• Sold