Frezzolini, Erminia. (1818-1884). Autograph Letter to Alexis Dupont. Rare autograph letter, in Italian, from the great Italian soprano to tenor, Alexis Dupont (1796-1874).
" She is identified with Romantic opera and especially with Verdi, two of whose heroines she created: Giselda in I Lombardi and Giovanna d'Arco, at La Scala, Milan (in 1843 and 1845 respectively). Trained mainly by her father, Giuseppe Frezzolini (1789–1861), a noted bass, and Domenico Ronconi, she had bel canto skills but sang in the new manner called for by Verdi's works, uniting smooth legato and dramatic power. Her sensational début, at Florence in 1837, was in the title role of Bellini's Beatrice di Tenda; this remained one of her most effective parts, along with Donizetti's Lucrezia Borgia (in which she caused another sensation, at La Scala in 1840), Bellini's Elvira (I puritani), and Verdi's Giselda, Gilda (Rigoletto) and Leonora (Il trovatore). She was compared to Maria Malibran for boldness, intensity and pathos, with an added sweetness of timbre; Fétis wrote of her beauty and nobility on stage." (John Rosselli, Grove Online)
The addressee of the letter, tenor Alexis Dupont, was one of the great stars of the Opéra-Comique from 1821-1840. Auber wrote the role of Alphonse in "La Muette de Portici" for him, and he created roles in Rossini's "Guillaume Tell" and Halévy's "La Juive."
" She is identified with Romantic opera and especially with Verdi, two of whose heroines she created: Giselda in I Lombardi and Giovanna d'Arco, at La Scala, Milan (in 1843 and 1845 respectively). Trained mainly by her father, Giuseppe Frezzolini (1789–1861), a noted bass, and Domenico Ronconi, she had bel canto skills but sang in the new manner called for by Verdi's works, uniting smooth legato and dramatic power. Her sensational début, at Florence in 1837, was in the title role of Bellini's Beatrice di Tenda; this remained one of her most effective parts, along with Donizetti's Lucrezia Borgia (in which she caused another sensation, at La Scala in 1840), Bellini's Elvira (I puritani), and Verdi's Giselda, Gilda (Rigoletto) and Leonora (Il trovatore). She was compared to Maria Malibran for boldness, intensity and pathos, with an added sweetness of timbre; Fétis wrote of her beauty and nobility on stage." (John Rosselli, Grove Online)
The addressee of the letter, tenor Alexis Dupont, was one of the great stars of the Opéra-Comique from 1821-1840. Auber wrote the role of Alphonse in "La Muette de Portici" for him, and he created roles in Rossini's "Guillaume Tell" and Halévy's "La Juive."
Frezzolini, Erminia. (1818-1884). Autograph Letter to Alexis Dupont. Rare autograph letter, in Italian, from the great Italian soprano to tenor, Alexis Dupont (1796-1874).
" She is identified with Romantic opera and especially with Verdi, two of whose heroines she created: Giselda in I Lombardi and Giovanna d'Arco, at La Scala, Milan (in 1843 and 1845 respectively). Trained mainly by her father, Giuseppe Frezzolini (1789–1861), a noted bass, and Domenico Ronconi, she had bel canto skills but sang in the new manner called for by Verdi's works, uniting smooth legato and dramatic power. Her sensational début, at Florence in 1837, was in the title role of Bellini's Beatrice di Tenda; this remained one of her most effective parts, along with Donizetti's Lucrezia Borgia (in which she caused another sensation, at La Scala in 1840), Bellini's Elvira (I puritani), and Verdi's Giselda, Gilda (Rigoletto) and Leonora (Il trovatore). She was compared to Maria Malibran for boldness, intensity and pathos, with an added sweetness of timbre; Fétis wrote of her beauty and nobility on stage." (John Rosselli, Grove Online)
The addressee of the letter, tenor Alexis Dupont, was one of the great stars of the Opéra-Comique from 1821-1840. Auber wrote the role of Alphonse in "La Muette de Portici" for him, and he created roles in Rossini's "Guillaume Tell" and Halévy's "La Juive."
" She is identified with Romantic opera and especially with Verdi, two of whose heroines she created: Giselda in I Lombardi and Giovanna d'Arco, at La Scala, Milan (in 1843 and 1845 respectively). Trained mainly by her father, Giuseppe Frezzolini (1789–1861), a noted bass, and Domenico Ronconi, she had bel canto skills but sang in the new manner called for by Verdi's works, uniting smooth legato and dramatic power. Her sensational début, at Florence in 1837, was in the title role of Bellini's Beatrice di Tenda; this remained one of her most effective parts, along with Donizetti's Lucrezia Borgia (in which she caused another sensation, at La Scala in 1840), Bellini's Elvira (I puritani), and Verdi's Giselda, Gilda (Rigoletto) and Leonora (Il trovatore). She was compared to Maria Malibran for boldness, intensity and pathos, with an added sweetness of timbre; Fétis wrote of her beauty and nobility on stage." (John Rosselli, Grove Online)
The addressee of the letter, tenor Alexis Dupont, was one of the great stars of the Opéra-Comique from 1821-1840. Auber wrote the role of Alphonse in "La Muette de Portici" for him, and he created roles in Rossini's "Guillaume Tell" and Halévy's "La Juive."