Giuditta Pasta


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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Pasta, Giuditta

 

(maiden name, Negri). Born Oct. 28, 1797 (according to some sources, Apr. 9, 1798), in Saronno, near Milan; died Apr. 1, 1865 (or 1867), in Blevio, near Como. Italian soprano.

Pasta studied at the Milan Conservatory. She toured in many European countries and, in 1840–41, in Russia. She was famed for her roles in the operas of G. Rossini, V. Bellini, and G. Donizetti. The title role in Norma and the role of Amina in La Sonnambula, both by Bellini, were written for Pasta, as was the title role in Donizetti’s Anna Bolena.

REFERENCES

Timokhin, V. Vydaiushchiesia ital’ianskie pevtsy: Ocherki. Moscow, 1962.
Giuditta Pasta e i suoi tempi: memorie e lettere raccolte a cura di M. F. Giulini. Milan, 1935.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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(10) Under such circumstances, it is clear that less demanding contracts were a luxury, as when Giuditta Pasta's 1826 contract for the Royal Opera in London specified that she would not be obligated to sing more than six performances per month.
Even singers like Isabella Colbran and Giuditta Pasta, whose careers flourished well into their thirties, debuted young.
It has its origins as a haven for libertines when Italy was under Napoleonic rule and later became the home of famed 19th Century opera singer Giuditta Pasta before eventually falling into disrepair.
The tide role was created by Isabella Colbran and quickly became a favorite for Giuditta Pasta. This 2010 staging in Munich is the first at a major opera house since 1850 and is based on a critical edition of the score by Paolo A.
Marie de Gandt, "Lamiel-Psyche, la figure de l'esprit," Maria Scott, "Le theme de l'amitie feminine chez un 'tendre ami des femmes'" et Catherine Authier et Lucy Garnier, "Giuditta Pasta, le travestissement et la 'femininite' chez Stendhal" prennent de front la question de l'identite feminine et du genre, dans le sens ou l'entend Judith Butler dans Gender Trouble (publie en 2005 dans sa version francaise, l'annee precedant le colloque), et le debat devient questionnement, tatonnements fructueux, rencontre de voix qui se recoupent et se repondent.
Soprano Giuditta Pasta (1797-1865) sings the leading role in this section of the book, not only because of her vocal technique, which presaged that of Maria Callas, but also because of her celebrated portrayals of the title roles in Mayr's Medea in Corinto of 1813 and Bellini's Norma in 1831.
1620-c.1660), who created the prototype of the first operatic prima donna; Nancy Storace (1765-1817), Mozart's "Susanna" (in The Marriage of Figaro) who masterfully combined comedic talent and acting ability with singing; Giuditta Pasta (1797-1865), whose tremendous vocal and dramatic talents inspired Bellini's Norma and whose singing Chopin called "sublime"; Wilhelmine Schroder-Devrient (1804-1860), whose dramatic performance of Fidelio profoundly influenced Wagner's development of music dramas; Jenny Lind (1820-1887), the superstar who literally took America by storm; and Marian Anderson (1897-1993) whose determination and lovely contralto voice helped break down racial barriers.
Once a very common term, in the nineteenth century it was used to describe many leading sopranos including Giulia Grisi, Adelina Patti, Giuditta Pasta, and Henriette Sontag.
Chapter 3, "Embodying Opera: The Prima Donna in Russia," concerns the female opera star, comparing the adulation accorded Western divas such as Giuditta Pasta, Maria Malibran, Pauline Viardot, and Adelina Patti with the denigration of the Russian female vocalist.