Lourença Nunes Correia

Lorenza Correa, portrait

Lourença Nunes Correia (also: Spanish Lourença Nunes Corréa ital .: Lorenza Correa ; * 1773 or 1775 in Málaga , according to other sources 1771 in Lisbon ; † after 1831 ) was a Spanish or Portuguese opera singer . She sang in Madrid , Naples , Paris and Milan from 1790 to 1810 .

Life

Lorenza Correa , also Corréa , was the daughter of actress Petronila Morales and Don Roque Núñez. The name Correa , also Correia , was the name of her stepfather, the actor José Correa, whom she adopted. Correia was considered a child prodigy; their first appearances in Spanish tonadillas are proven between the ages of twelve and fifteen years. In 1787, according to other sources in 1788, and also in February and March 1792, she gave concerts at the Teatro de los Caños del Peral in Madrid , in which her sisters Laureana Correia and Petronila Correia also took part. In 1788 she also performed in Barcelona . In 1794 she married the actor Manuel García Parra.

In 1803 she left Spain and went to Italy , where she continued her vocal training as a student of Carlo Marinelli . At the beginning of 1804 she worked as a concert singer in Paris . In 1804 she also appeared on the stage in Brescia under the name Lorenza Correa . In 1805 she appeared at the Teatro Regio di Torino in the opera Sofonisba by Vincenzo Federici . In 1810 she sang there again. From 1811 Correa sang at La Scala in Milan . She was there in 1813 in the opera Tamerlano by Simone Mayr with. She also sang in operas by Pietro Carlo Guglielmi and Giuseppe Farinelli at La Scala . She worked there in the world premieres of the operas I pretendenti delusi by Giuseppe Mosca (April 14, 1811), Ernesto e Palmira by Pietro Carlo Guglielmi (September 18, 1813), Aurelio in Palmira by Giocchino Rossini (December 26, 1813 as Zenobia ), Le due Duchesse by Simone Mayr (November 7, 1814) and Chiarina by Giuseppe Farinelli (September 13, 1816) with.

In 1811 she made a guest appearance at the Théâtre National de l'Odéon in Paris , but was unable to build on her successes in Italy. In 1818 she returned to Spain. In 1821 she was heard in Madrid at the Teatro del Principe . Correa, who had become very corpulent in the meantime, hardly appeared on the stage any more, but worked as a concert singer . Between 1827 and 1830 she gave concerts in Genoa . In 1831 it was found again in Spain; she applied to the Spanish king for a pension and for her retirement provision . This is the singer's last sign of life. She may have died in Italy; however, this has not yet been confirmed.

She had great success and was considered the most important dramatic singer on the Iberian Peninsula. Her sister Laureana Correa had a significant career as a singer and actress in Madrid since 1787. The careers of her sisters Petronila Correa , Manuela Correa and Maria Isabel Correa were comparatively modest.

Around 1805/1806, the Spanish painter Francisco de Goya made a portrait of her, known as "The Lady with the Fan" ( La Femme à l'éventail ); the portrait is now in the art collections of the Louvre .

literature

• Karl-Josef Kutsch , Leo Riemens : Large singer lexicon . Fourth, enlarged and updated edition. Munich 2003. Volume 2: Castori – Frampoli, p. 910. ISBN 3-598-11598-9

Individual evidence

1. ^ Annette Monheim: A Westphalian in Paris: the diaries of Ludwig Count von Bentheim
2. ↑ ^{a b c d} Núñez Correa (1775–1832?) Personajes ilustres
3. ↑ ^{a b} Illustração Portugueza, No. 322, April 22, 1912 (page 519, Portuguese, viewed November 16, 2011; PDF; 11.1 MB)
4. ↑ Allgemeine Musikalische Zeitung No. 29, April 18, 1804
5. ↑ Allgemeine Musikalische Zeitung No. 35, May 30, 1804
6. ↑ Lorenza Correa, Goya, vers 1805-1806 ( Memento of the original from March 28, 2010 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. www.aidart.fr (description and photo)