Young Maria Malibran’s debut in Paris made a deep impression on the public and prompted a reflection on the state of the art of singing at that time.
It is a great pleasure to introduce our first series of interviews in Reflections on Vocal Art by speaking with Andrés Moreno Mengíbar, doctor in history and professor of geography and history, music critic and author of “Los García, una familia para el canto.”
There’s a new entry in our History section, dedicated to the lives of Manuel García, María Malibrán and Pauline Viardot.
In 1913, Claude Debussy published a little article discussing the matter of taste and the art of music.
In the first part of his lectures, entitled Why do we sing?, composer Reynaldo Hahn reflects on his concept of the art of singing.
In October 1887, Arrigo Boito, librettist, composer and by then Verdi’s close friend and collaborator, wrote to the Maestro asking him for a list of old Italian composers whose study could help correct the deviated course in which the young music students were at the end of the 19th century.
In this passage of her book Singer’s pilgrimage, Blanche Marchesi briefly recounts one of her collaborations with Camille Saint-Saëns in 1898 and transcribes the letter the composer sent her praising her rendition of his work.
Following the death of Mercadante, Giuseppe Verdi was offered the direction of the Conservatorio di San Pietro a Majella in Naples. The celebrated composer declined and in this essential letter he refers to the place of tradition in the formation of young musicians.