![Pasta, Giuditta. (1797 - 1865) [Viardot, Pauline. (1821-1910)] Important Autograph Letter to Viardot, from the day of Pasta's final performance](http://www.schubertiademusic.com/cdn/shop/files/Pasta_ALS_Viardot_10413a.jpg?v=1722187913)
![Pasta, Giuditta. (1797 - 1865) [Viardot, Pauline. (1821-1910)] Important Autograph Letter to Viardot, from the day of Pasta's final performance](http://www.schubertiademusic.com/cdn/shop/files/Pasta_ALS_Viardot_10413b.jpg?v=1722187913)
Pasta, Giuditta. (1797 - 1865) [Viardot, Pauline. (1821-1910)]. Important Autograph Letter to Viardot, from the day of Pasta's final performance. Autograph letter to Pauline Viardot. 3 pp. London, July 12, 1850. Translated in full from the Italian: "Dearest Lady, Forgive me for taking so long in answering your dearest letter. I had hoped to be able to do it in person but now that I am prevented from doing so by obvious circumstances, I take the pen to let you know of my great gratitude in being so honored. Your graciousness does not surprise me and it brings to me the greatest pleasure. // Please be kind enough to send to Miss Parodi, 11 Brompton Square, that which you have been generous enough to dedicate to me --I am anxious to see the fruits of that treasure of your mind and your heart -- I send you a few notes that I did for the benefit of our poor refugees -- Please be indulgent and send me your thoughts. // I leave unhappy at not coming to pay my respects in your magnificent castle and take with me the hope of seeing you one day on my lake. // I repeat the sentiments of my highest esteem for you my dear lady, Yours, Giuditta Pasta." In fine condition, light toning and a few small tears around the edges. Set in a double-sided presentation mat.
Autograph letters of Pasta are very rare to the market. The present letter, written on the date of the final performance of her career, is an especially important one.
"The acknowledged 'diva del mondo' during the 1820s, was 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)
"During the spring of 1850 Giuditta journeyed to London to attend performances of her favorite pupil Teresa Parodi at Her Majesty's Theatre. The lady had been absent from the English capital since 1837. Not only did she renew many old acquaintances, but enjoyed reunion with several former colleagues, including Giulia Grisi, Henriette Sontag, Erminia Frezzolini, Carlotta Grisi, Marie Taglioni, Mario, Luigi Lablache and Antonio Tamburini, among others."
"Giuseppa Mazzini also visited London during the summer of 1850, and on 22 June he wrote to ask for Pasta's participation in another concert to aid Italian emigrants....Giuditta agreed to lend her voice to the cause and on 1 July an announcement appeared in several local papers that she would sing in a concert for Italian exiles to be hold on 12 July...The final concert of Giuditta Pasta's career took place on 12 July 1850, at Covent Garden...She performed only two pieces: the duet 'Questo cor ti giuro amor' from Rossini's first opera 'Demetrio e Polibio, selected because of its text, a token of affection for her favorite pupil Teresa Parodi, followed by Pacini's Il Soave e bel contento...I tuoi frequenti palpiti." (Ken Stern, "Giuditta Pasta" (Operaphile Press, 2011 ), p. 443-450)
A number of factors suggest that this letter is almost certainly addressed to Pauline Viardot, herself one of the most important singers of the 19th century. Firstly, the female addressee has evidently composed a vocal work dedicated to Pasta, as Viardot is known to have done. Secondly, Pasta seems to suggest that she had hoped to recently see her in person. It is known that Viardot attended Pasta's penultimate performance, on July 8, 1850, where she spoke the often-quoted response that it was "like the 'Cenacolo' of da Vinci - a wreck of a picture, but the picture is the greatest picture in the world." Finally, Pasta refers to the "magnificent castle" and Viardot is known to have been staying at Duns Castle in Scotland during this time.
Autograph letters of Pasta are very rare to the market. The present letter, written on the date of the final performance of her career, is an especially important one.
"The acknowledged 'diva del mondo' during the 1820s, was 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)
"During the spring of 1850 Giuditta journeyed to London to attend performances of her favorite pupil Teresa Parodi at Her Majesty's Theatre. The lady had been absent from the English capital since 1837. Not only did she renew many old acquaintances, but enjoyed reunion with several former colleagues, including Giulia Grisi, Henriette Sontag, Erminia Frezzolini, Carlotta Grisi, Marie Taglioni, Mario, Luigi Lablache and Antonio Tamburini, among others."
"Giuseppa Mazzini also visited London during the summer of 1850, and on 22 June he wrote to ask for Pasta's participation in another concert to aid Italian emigrants....Giuditta agreed to lend her voice to the cause and on 1 July an announcement appeared in several local papers that she would sing in a concert for Italian exiles to be hold on 12 July...The final concert of Giuditta Pasta's career took place on 12 July 1850, at Covent Garden...She performed only two pieces: the duet 'Questo cor ti giuro amor' from Rossini's first opera 'Demetrio e Polibio, selected because of its text, a token of affection for her favorite pupil Teresa Parodi, followed by Pacini's Il Soave e bel contento...I tuoi frequenti palpiti." (Ken Stern, "Giuditta Pasta" (Operaphile Press, 2011 ), p. 443-450)
A number of factors suggest that this letter is almost certainly addressed to Pauline Viardot, herself one of the most important singers of the 19th century. Firstly, the female addressee has evidently composed a vocal work dedicated to Pasta, as Viardot is known to have done. Secondly, Pasta seems to suggest that she had hoped to recently see her in person. It is known that Viardot attended Pasta's penultimate performance, on July 8, 1850, where she spoke the often-quoted response that it was "like the 'Cenacolo' of da Vinci - a wreck of a picture, but the picture is the greatest picture in the world." Finally, Pasta refers to the "magnificent castle" and Viardot is known to have been staying at Duns Castle in Scotland during this time.
Pasta, Giuditta. (1797 - 1865) [Viardot, Pauline. (1821-1910)]. Important Autograph Letter to Viardot, from the day of Pasta's final performance. Autograph letter to Pauline Viardot. 3 pp. London, July 12, 1850. Translated in full from the Italian: "Dearest Lady, Forgive me for taking so long in answering your dearest letter. I had hoped to be able to do it in person but now that I am prevented from doing so by obvious circumstances, I take the pen to let you know of my great gratitude in being so honored. Your graciousness does not surprise me and it brings to me the greatest pleasure. // Please be kind enough to send to Miss Parodi, 11 Brompton Square, that which you have been generous enough to dedicate to me --I am anxious to see the fruits of that treasure of your mind and your heart -- I send you a few notes that I did for the benefit of our poor refugees -- Please be indulgent and send me your thoughts. // I leave unhappy at not coming to pay my respects in your magnificent castle and take with me the hope of seeing you one day on my lake. // I repeat the sentiments of my highest esteem for you my dear lady, Yours, Giuditta Pasta." In fine condition, light toning and a few small tears around the edges. Set in a double-sided presentation mat.
Autograph letters of Pasta are very rare to the market. The present letter, written on the date of the final performance of her career, is an especially important one.
"The acknowledged 'diva del mondo' during the 1820s, was 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)
"During the spring of 1850 Giuditta journeyed to London to attend performances of her favorite pupil Teresa Parodi at Her Majesty's Theatre. The lady had been absent from the English capital since 1837. Not only did she renew many old acquaintances, but enjoyed reunion with several former colleagues, including Giulia Grisi, Henriette Sontag, Erminia Frezzolini, Carlotta Grisi, Marie Taglioni, Mario, Luigi Lablache and Antonio Tamburini, among others."
"Giuseppa Mazzini also visited London during the summer of 1850, and on 22 June he wrote to ask for Pasta's participation in another concert to aid Italian emigrants....Giuditta agreed to lend her voice to the cause and on 1 July an announcement appeared in several local papers that she would sing in a concert for Italian exiles to be hold on 12 July...The final concert of Giuditta Pasta's career took place on 12 July 1850, at Covent Garden...She performed only two pieces: the duet 'Questo cor ti giuro amor' from Rossini's first opera 'Demetrio e Polibio, selected because of its text, a token of affection for her favorite pupil Teresa Parodi, followed by Pacini's Il Soave e bel contento...I tuoi frequenti palpiti." (Ken Stern, "Giuditta Pasta" (Operaphile Press, 2011 ), p. 443-450)
A number of factors suggest that this letter is almost certainly addressed to Pauline Viardot, herself one of the most important singers of the 19th century. Firstly, the female addressee has evidently composed a vocal work dedicated to Pasta, as Viardot is known to have done. Secondly, Pasta seems to suggest that she had hoped to recently see her in person. It is known that Viardot attended Pasta's penultimate performance, on July 8, 1850, where she spoke the often-quoted response that it was "like the 'Cenacolo' of da Vinci - a wreck of a picture, but the picture is the greatest picture in the world." Finally, Pasta refers to the "magnificent castle" and Viardot is known to have been staying at Duns Castle in Scotland during this time.
Autograph letters of Pasta are very rare to the market. The present letter, written on the date of the final performance of her career, is an especially important one.
"The acknowledged 'diva del mondo' during the 1820s, was 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)
"During the spring of 1850 Giuditta journeyed to London to attend performances of her favorite pupil Teresa Parodi at Her Majesty's Theatre. The lady had been absent from the English capital since 1837. Not only did she renew many old acquaintances, but enjoyed reunion with several former colleagues, including Giulia Grisi, Henriette Sontag, Erminia Frezzolini, Carlotta Grisi, Marie Taglioni, Mario, Luigi Lablache and Antonio Tamburini, among others."
"Giuseppa Mazzini also visited London during the summer of 1850, and on 22 June he wrote to ask for Pasta's participation in another concert to aid Italian emigrants....Giuditta agreed to lend her voice to the cause and on 1 July an announcement appeared in several local papers that she would sing in a concert for Italian exiles to be hold on 12 July...The final concert of Giuditta Pasta's career took place on 12 July 1850, at Covent Garden...She performed only two pieces: the duet 'Questo cor ti giuro amor' from Rossini's first opera 'Demetrio e Polibio, selected because of its text, a token of affection for her favorite pupil Teresa Parodi, followed by Pacini's Il Soave e bel contento...I tuoi frequenti palpiti." (Ken Stern, "Giuditta Pasta" (Operaphile Press, 2011 ), p. 443-450)
A number of factors suggest that this letter is almost certainly addressed to Pauline Viardot, herself one of the most important singers of the 19th century. Firstly, the female addressee has evidently composed a vocal work dedicated to Pasta, as Viardot is known to have done. Secondly, Pasta seems to suggest that she had hoped to recently see her in person. It is known that Viardot attended Pasta's penultimate performance, on July 8, 1850, where she spoke the often-quoted response that it was "like the 'Cenacolo' of da Vinci - a wreck of a picture, but the picture is the greatest picture in the world." Finally, Pasta refers to the "magnificent castle" and Viardot is known to have been staying at Duns Castle in Scotland during this time.