Pasta, Giuditta. (1797 - 1865). Two Rare Dedicatory Poems. Two rare dedicatory poems about the great soprano. Both in fine condition, as follows:
"Versi Acrostici." Author unknown, ca. 1820. 21 X 29.5 cm. A fascinating and highly unusual 13-line acrostic sonnet, in which the first letters of each line, when read straight down, spell out "Giuditta Pasta."
"Alla Signora Giuditta Pasta. Prima Attrice Nel Real Teatro Di S. Carlo. Nella Medea. ~ Sonetto." 14-line sonnet by Gioacchino Ponta, ca. 1824. 20.5 X 29.5 cm. An interesting sonnet, reflecting on one of Pasta's greatest roles, Medea in Mayr's "Medea in Corinto." She had a long and famous history with this role, which shares obvious similarities with Bellini's 1831 "Norma" which he wrote especially for Pasta.
Pasta was "the acknowledged 'diva del mondo' during the 1820s, famed not only for an extraordinary if flawed voice, but also for the physicality of her performance modes. Her innovative practices contributed to the development and reconceptualisation of opera’s dramatic potential on the early Romantic stage. Making her reputation in roles such as Medea (Mayr) and Semiramide (Rossini), Pasta later inspired the composition of three of the most striking operatic heroines of the period: Amina in La sonnambula (Bellini) and the title-roles of Norma (again Bellini) and Anna Bolena (Donizetti)." (Susan Rutherford, "La Cantante delle Passioni," Cambridge Opera Journal #19-2, 2007, p. 1)
"Versi Acrostici." Author unknown, ca. 1820. 21 X 29.5 cm. A fascinating and highly unusual 13-line acrostic sonnet, in which the first letters of each line, when read straight down, spell out "Giuditta Pasta."
"Alla Signora Giuditta Pasta. Prima Attrice Nel Real Teatro Di S. Carlo. Nella Medea. ~ Sonetto." 14-line sonnet by Gioacchino Ponta, ca. 1824. 20.5 X 29.5 cm. An interesting sonnet, reflecting on one of Pasta's greatest roles, Medea in Mayr's "Medea in Corinto." She had a long and famous history with this role, which shares obvious similarities with Bellini's 1831 "Norma" which he wrote especially for Pasta.
Pasta was "the acknowledged 'diva del mondo' during the 1820s, famed not only for an extraordinary if flawed voice, but also for the physicality of her performance modes. Her innovative practices contributed to the development and reconceptualisation of opera’s dramatic potential on the early Romantic stage. Making her reputation in roles such as Medea (Mayr) and Semiramide (Rossini), Pasta later inspired the composition of three of the most striking operatic heroines of the period: Amina in La sonnambula (Bellini) and the title-roles of Norma (again Bellini) and Anna Bolena (Donizetti)." (Susan Rutherford, "La Cantante delle Passioni," Cambridge Opera Journal #19-2, 2007, p. 1)
Pasta, Giuditta. (1797 - 1865). Two Rare Dedicatory Poems. Two rare dedicatory poems about the great soprano. Both in fine condition, as follows:
"Versi Acrostici." Author unknown, ca. 1820. 21 X 29.5 cm. A fascinating and highly unusual 13-line acrostic sonnet, in which the first letters of each line, when read straight down, spell out "Giuditta Pasta."
"Alla Signora Giuditta Pasta. Prima Attrice Nel Real Teatro Di S. Carlo. Nella Medea. ~ Sonetto." 14-line sonnet by Gioacchino Ponta, ca. 1824. 20.5 X 29.5 cm. An interesting sonnet, reflecting on one of Pasta's greatest roles, Medea in Mayr's "Medea in Corinto." She had a long and famous history with this role, which shares obvious similarities with Bellini's 1831 "Norma" which he wrote especially for Pasta.
Pasta was "the acknowledged 'diva del mondo' during the 1820s, famed not only for an extraordinary if flawed voice, but also for the physicality of her performance modes. Her innovative practices contributed to the development and reconceptualisation of opera’s dramatic potential on the early Romantic stage. Making her reputation in roles such as Medea (Mayr) and Semiramide (Rossini), Pasta later inspired the composition of three of the most striking operatic heroines of the period: Amina in La sonnambula (Bellini) and the title-roles of Norma (again Bellini) and Anna Bolena (Donizetti)." (Susan Rutherford, "La Cantante delle Passioni," Cambridge Opera Journal #19-2, 2007, p. 1)
"Versi Acrostici." Author unknown, ca. 1820. 21 X 29.5 cm. A fascinating and highly unusual 13-line acrostic sonnet, in which the first letters of each line, when read straight down, spell out "Giuditta Pasta."
"Alla Signora Giuditta Pasta. Prima Attrice Nel Real Teatro Di S. Carlo. Nella Medea. ~ Sonetto." 14-line sonnet by Gioacchino Ponta, ca. 1824. 20.5 X 29.5 cm. An interesting sonnet, reflecting on one of Pasta's greatest roles, Medea in Mayr's "Medea in Corinto." She had a long and famous history with this role, which shares obvious similarities with Bellini's 1831 "Norma" which he wrote especially for Pasta.
Pasta was "the acknowledged 'diva del mondo' during the 1820s, famed not only for an extraordinary if flawed voice, but also for the physicality of her performance modes. Her innovative practices contributed to the development and reconceptualisation of opera’s dramatic potential on the early Romantic stage. Making her reputation in roles such as Medea (Mayr) and Semiramide (Rossini), Pasta later inspired the composition of three of the most striking operatic heroines of the period: Amina in La sonnambula (Bellini) and the title-roles of Norma (again Bellini) and Anna Bolena (Donizetti)." (Susan Rutherford, "La Cantante delle Passioni," Cambridge Opera Journal #19-2, 2007, p. 1)