Fourth and last part of the chapter that Blanche Marchesi devotes to the question of style and tradition in her book Singer’s pilgrimage, where she reveals the artistic legacy of her family.
Marchesi: on style III
Third part of the chapter that Blanche Marchesi devotes in her book Singer’s pilgrimage to the question of style and traditional performances in the art of singing.
Marchesi: style II
Second part of the chapter that Blanche Marchesi devotes in her book Singer’s pilgrimage to the question of style and tradition, speaking about conductors, accompanists and the reception of the audience.
Marchesi: on style I
Blanche Marchesi dedicates the twenty-fourth chapter of her book Singer’s pilgrimage to the question of style in the art of singing, including the inescapable issue of tradition.
Marchesi: Wagner
At the end of twentieth chapter of her book Singer’s pilgrimage, Blanche Marchesi shares her thoughts on how the music of Wagner was incorporated in the art of singing and how it should and shouldn’t be sung.
Marchesi: the teacher
In her book of 1923, the celebrated Blanche Marchesi approaches the extremely complex and challenging task of the singing master in two sections of the penultimate chapter: Teaching Teachers and Teachers’ Hardships.
Lehmann: art
The eminent Lilli Lehmann published in 1902 her singing treatise Meine Gesangskunst. In 1914 she wrote the prefaced for the revised edition and seized the opportunity to draw attention to the importance of technique.
Verdi and Boito: return
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.
Marchesi: legacy
In this passage of Singer’s pilgrimage, Blanche Marchesi describes her great aunt’s relationship with Beethoven and how the artistic legacy of the performance practices of his work reached her.
Verdi: torniamo
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.
