Angelica Catalani


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Catalani, Angelica

 

Born May 10, 1780, in Sinigaglia, Ancona Province; died June 12, 1849, in Paris. Italian singer (soprano).

Catalani made her opera debut in 1797 in Venice singing Lodoi’ska by S. Mayr. She began performing in Europe, including Russia, in 1804. She was endowed with perfect vocal gifts and had an extraordinary mastery of coloratura. Her roles included Semiramide in The Death of Semiramide by Portugal, the title role in Zingarelli’s Clitennestra, Camilla in The Orazi and Curiazi by Cimarosa, and Susanna in The Marriage of Figaro by Mozart. Catalani directed the Theatre Italien in Paris between 1814 and 1817. She retired in 1828.

REFERENCES

Timokhin, V. Vydaiushchiesia ital’ianskie pevtsy.Moscow, 1962.
Delia Corte, A. Satire e grotteschi. Turin, 1946.
References in periodicals archive ?
Hoffmann, Robert Schumann, Niccolo Paganini, Angelica Catalani, Ignaz Moscheles, Friedrich Kalkbrenner, and Franz Liszt; facets of artistic activity in early nineteenth-century Berlin come into sharp focus, most notably in the realms of opera, spoken theater, and ballet.
In this article, this method, which has proved useful and efficient in analyzing many singers, will be described and exemplified in a case study of Angelica Catalani's voice.
This method will be described here using the voice of Angelica Catalani as an example.
A PRACTICAL EXAMPLE IN THE VOICE OF ANGELICA CATALANI
The Italian singer Angelica Catalani (1780-1849) was selected, both for having been a great virtuoso of her time, with a successful international career, and for her prominent role in Portuguese lyric circles.
Most Italian singers could not read music, she told the Novellos, and the intricacies of a Mozart score, with its difficult ensemble sections in particular, were beyond what "their indolence and ignorance can manage." Mozart's son singled out the incompetence of the famous soprano Angelica Catalani, expressing "contempt" for her career built on the learning of "a few songs by memory." (19) The Mozarts' mention of Catalani would have resonated strongly with the Novellos.
It was an adaptation from the German of Die Falsche Catalani in Krehwinkel, which referred to the Italian prima donna Angelica Catalani. It had been submitted to the Colonial Secretary, Edward Deas Thomson, as The Sham Catalani which received his approval 'with the exception of the Oath, which must be omitted' (CSIL 42/3089).
Rachel Cowgill contributes an essay on Angelica Catalani's exhibition of "Attitudes with a Shawl," which was intended as a means of reinforcing her image as a serious creative artist, but instead provoked a rather stormy public reception.