Eugenia Tadolini

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Eugenia Tadolini, lithograph by Josef Kriehuber , 1835

Eugenia Tadolini , nee Eugenia Savonari , (* 1809 in Forli ; † July 11, 1872 in Paris ) was an Italian opera singer ( soprano or coloratura soprano , soprano sfogato ).

Life

She enjoyed thorough vocal training in Bologna from Giovanni Tadolini , her future husband (1789–1872). On December 29, 1829 she made her debut at the Teatro Regio of Parma as Giulietta in Vaccaj's Giulietta e Romeo . Several roles by Rossini followed at the same theater: Amenaide in Tancredi and the female title role in Bianca e Falliero . From there she went with her husband to the Théâtre Italy in Paris , where she stood on stage for three years alongside big stars such as Giuditta Pasta , Maria Malibran , the tenor Rubini and the bass Luigi Lablache and worked on her artistic perfection.

After her divorce from her husband (1834) she returned to Italy, where she was celebrated on all the first stages until 1850, including in Milan , Venice , Turin , Florence , Trieste and Naples . She was also a crowd favorite in Vienna , where she repeatedly made guest appearances. The Austrian Kaiser appointed her Imperial Austrian Chamber Singer .

In 1834 she sang Adelia ( seconda donna ) in the world premiere of Mercadante's Emma d'Antiochia at the Teatro La Fenice in Venice, alongside Pasta and Domenico Donzelli . Mercadante later wrote the roles of Elvira in Le due illustri rivali (March 10, 1838, Venice) and Violetta in Il Bravo (March 9, 1839, Milan) for Tadolini .

One of her brilliant roles was Bellini's Sonnambula , which, according to Martinez, she sang with great empathy and, in contrast to the apparently virtuoso additional coloratura of her contemporary colleagues, relatively plain and simple: “... apart from a few changes in the Cavatina, the finest in the Aria finale and the additions in the transition from one melody to the other ", the Tadolini tried to achieve the whole effect through a soft coloring, through a legato and the most delicate smorzando (fading out, exhaling), and by doing exactly the embellishments that the author himself had in mind for his melody ”.

During her years at the Teatro San Carlo in Naples, Tadolini also created the leading roles in two of Giovanni Pacini's successful late operas : La fidanzata corsa (December 10, 1842) and Stella di Napoli (December 11, 1845). The composer later spoke of the "rarity ..." of the Tadolini, "... with regard to the beauty and strength of the voice, with regard to her vocal training, and since she tirelessly fulfills her own duties", in La fidanzata corsa " she had all my wishes and exceeded every expectation of the audience ".

Eugenia Tadolini with Giorgio Ronconi and Carlo Guasco in Donizetti's Maria di Rohan , Vienna 1843

Eugenia Tadolini was also a celebrated interpreter of numerous operas by Gaetano Donizetti , who valued her very much and said of her: "She is a singer, she is an actress, she is everything". During her time at the Kärntnertortheater in Vienna, he composed the title roles in Linda di Chamounix and Maria di Rohan for her from 1842–43 . Donizetti also revised his opera Maria Padilla in 1842 for Tadolini and composed a new cabaletta finale for her , which, according to Donizetti's own words, she is said to have sung at the premiere in Naples “with a voice like a cannon”. Tadolini also had the main female roles in operas such as Lucia di Lammermoor , L'elisir d'amore , Gemma di Vergy and Don Pasquale in her repertoire, at the beginning of her career she sang the role of Giovanna Seymour ( seconda donna ) and later the title role in Anna Bolena , and was also the first Paolina in the posthumous Italian premiere of Donizetti's Poliuto on November 30, 1848 at the Teatro San Carlo in Naples.

On August 12, 1845, she sang the title role in the world premiere of Verdi's Alzira . Tadolini also sang several other Verdi roles: Elvira in Ernani , Odabella in Attila and Griselda in I Lombardi alla prima crociata . In 1847, however, the composer refused her the role of Lady Macbeth in his Macbeth . In a letter to Salvatore Cammarano , Verdi wrote his now famous reasoning and characterized the voice and song of the Tadolini:

“You know how much I value Tadolini, and she knows it herself; but I believe - in the interest of all involved - it is necessary to make a few observations: Tadolini's qualities are far too good for this role! That may seem absurd to you !! ... Tadolini has a beautiful and attractive appearance; and I want Lady Macbeth to be ugly and evil. Tadolini sings with perfection; and I want Lady Macbeth not to sing at all. Tadolini has a wonderful voice, clear, flexible, strong; but I want Lady Macbeth to have a harsh, stifled, and hollow voice. Tadolini's voice has something angelic about it ; but I imagine the lady's voice diabolically . "

Eugenia Tadolini ended her operatic career at the age of 43 (1852) and initially lived in Naples. Her only son from a relationship with a noble lover died to her great chagrin in the cholera epidemic of 1855–56 (even a first child did not survive). When Garibaldi and his troops moved into the city, she fled to Paris with her lover, a younger Neapolitan prince, where she felt exceptionally well. She initially lived on the Champs-Élysées and later moved to a cheaper apartment on the Rue du Faubourg Saint-Honoré . In July 1872 she fell ill with typhoid and initially did not want to see a doctor because it reminded her of the death of her children. She died on July 11, 1872 at the age of 63 and was buried in the Père Lachaise cemetery.

literature

Web links

Commons : Eugenia Tadolini  - collection of images, videos and audio files

Individual evidence

  1. ^ Constantine von Wurzbach : Tadolini, Eugenia . In: Biographisches Lexikon des Kaiserthums Oesterreich . 43. Part. Kaiserlich-Königliche Hof- und Staatsdruckerei, Vienna 1881, pp. 12–14 ( digitized version ).
  2. ^ Constantine von Wurzbach : Tadolini, Eugenia . In: Biographisches Lexikon des Kaiserthums Oesterreich . 43. Part. Kaiserlich-Königliche Hof- und Staatsdruckerei, Vienna 1881, pp. 12–14 ( digitized version ).
  3. ↑ Booklet text for CD Nelly Miricioiu - Scenes from Emma d'Antiochia, L'assedio di Corinto, Belisario, Parisina u. a., Opera Rara, 2001: ORR 217. pp. 16–36, here: p. 22
  4. ↑ See "Tadolini, Eugenia" in the List of Mercadante Role Creators on the opera.stanford.edu website ( accessed July 27, 2019)
  5. ^ Constantine von Wurzbach : Tadolini, Eugenia . In: Biographisches Lexikon des Kaiserthums Oesterreich . 43. Part. Kaiserlich-Königliche Hof- und Staatsdruckerei, Vienna 1881, pp. 12–14 ( digitized version ).
  6. ↑ Note d. Trans.
  7. ↑ thus Bellini; Note d. Trans.
  8. ↑ "... eccettuati pochi cangiamenti nella cavatina, e lievissimi nell'aria finale, ed i congiungimenti apposti nel passare da qualche melodia in altra, le cantilene furono per lei fatte ascoltare nella loro piena integrità." ... "La Tadolini inve ... cerco di ottenere tutto l'effetto da un morbido colorito, da un legare e smorzare dolcissimo, e dall'eseguire esattamente quelle stesse note di agilità informate dall'autore nell'pensiero medesimo della sua melodia. ". Andrea Martinez: "La Tadolini nella Sonnambula" , in: Museo di letteratura e filosofia , Volume 3, Vol. 8, Gatti & Rossi, 1845, pp. 242–249 (Italian; accessed on July 27, 2019)
  9. ↑ See "Tadolini, Eugenia" in the List of Pacini Role Creators on the website opera.stanford.edu ( accessed July 27, 2019)
  10. ↑ "La famosa Tadolini - cantante, per me, d'un pregio raro per bellezza e potenza di voce, per scuola di canto, e per essere indefessa nel disimpego dei propri doveri - sorpassò ogni mio desiderio, non che ogni esigenza del pubblico" . In: Giovanni Pacini: Le mie memorie artistiche. GG Guidi, Florenz 1865, pp. 99-100 (Italian; scan in Google book search).
  11. ↑ Jeremy Commons: "Maria Padilla", booklet text for the Donizetti CD set : Maria Padilla with Lois McDonall, Alun Francis u. a., Opera Rara, 1992: ORC 6. p. 38
  12. ^ Constantine von Wurzbach : Tadolini, Eugenia . In: Biographisches Lexikon des Kaiserthums Oesterreich . 43. Part. Kaiserlich-Königliche Hof- und Staatsdruckerei, Vienna 1881, pp. 12–14 ( digitized version ).
  13. ↑ Jeremy Commons: "Maria Padilla", booklet text for the Donizetti CD set : Maria Padilla ... Opera Rara, 1992: ORC 6. pp. 37–40, here: p. 38; and p. 44
  14. ↑ "You know how highly I regard Tadolini, and she herself knows it; but I believe it's necessary - for the interest of all concerned - to make a few observations. Tadolini's qualities are far too good for that role! This may seem absurd to you !! ... Tadolini has a beautiful and attractive appearance; and I would like Lady Macbeth to be ugly and evil. Tadolini sings to perfection; and I would like the Lady not to sing. Tadolini has a stupendous voice, clear, limpid, powerful; and I would like the Lady to have a harsh, stifled, and hollow voice. Tadolini's voice has an angelic quality; I would like the Lady's voice to be diabolical ”. In: Philipp Gosset: "Verdi and his Macbeth", November 5, 2007, online at Playbill (English; viewed July 27, 2019)
  15. ^ A b c John Rosselli: Singers of Italian Opera: The History of a Profession , Cambridge University Press, 1992, pp. 174-75
personal data
SURNAME Tadolini, Eugenia
ALTERNATIVE NAMES Savonari, Eugenia (maiden name)
BRIEF DESCRIPTION Italian opera singer (soprano)
DATE OF BIRTH 1809
PLACE OF BIRTH Forli
DATE OF DEATH July 11, 1872
Place of death Paris