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Marietta Alboni (Città di Castello, 6 de Março de 1826 — Ville-d'Avray, 23 de Junho de 1894)^[1] foi uma cantora de ópera italiana (contralto). Foi sepultada no Cemitério do Père-Lachaise.

Factos rápidos

Marietta Alboni

Nascimento	6 de março de 1826 Città di Castello
Morte	23 de junho de 1894 (68 anos) Ville-d'Avray
Nacionalidade	italiana

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Características artísticas

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Perspectiva

Thumb — A seguinte lista dos papéis desempenhados por Marietta Alboni foi elaborada por Arthur Pougin e publicada na biografia da cantora

A voz de Alboni, um contralto excepcionalmente fina com um compasso uniforme de duas e meia oitavas, estendendo-se tão elevada como a soprano gama^[2] foi dito possuir ao mesmo tempo poder, doçura, plenitude, e flexibilidade extraordinária. Ela não tinha pares em passagens que exigiam uma entrega sensível e uma calma semirreligiosa, devido à qualidade comovente de seu tom aveludado. Ela possuía vivacidade, graça e charme como atriz do tipo comédienne; mas ela não era uma tragédienne natural, e sua tentativa na parte fortemente dramática de Norma foi relatada às vezes como tendo fracassado.^[3] No entanto, ela marcou um verdadeiro triunfo em 1850, quando ela fez sua estréia operística no Paris Opéra desempenhando o papel trágico de "Fides" em Le prophète de Meyerbeer, que tinha sido criado um ano antes por ninguém menos do que Pauline Viardot. Além disso, ela foi capaz de lidar com tais papéis dramáticos como "Azucena" e "Ulrica" em Verdi 's Il Trovatore e Un ballo in maschera, e mesmo com o barítono papel de "Don Carlo" em Ernani (Londres, 1847).^[4]

Repertório

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Perspectiva

A seguinte lista dos papéis desempenhados por Marietta Alboni foi elaborada por Arthur Pougin e publicada na biografia da cantora.^[5] É relatado aqui com a adição de outras obras e personagens de acordo com as fontes declaradas nas notas de rodapé.

Anna Bolena, de Donizetti - Anna e Smeton^[6]
L'assedio di Corinto, de Rossini - Neocle^[7]
Un ballo in maschera, de Verdi - Ulrica
Il barbiere di Siviglia, de Rossini - Rosina
La Cenerentola, de Rossini - Cenerentola
Carlos VI, de Halévy - Odette
Consuelo, de Giovanni Battista Gordigiani - Anzoletto^[8]
Così fan tutte, de Mozart - Dorabella
Il crociato, de Meyerbeer - Felicia
Un curioso accidente, pastiche com música de Rossini
David, oratório, de Muhlig
Don Giovanni, de Mozart - Zerlina
Don Pasquale, de Donizetti - Norina
La donna del lago, de Rossini - Malcolm e Elena
L'ebrea, de Pacini - Berenice^[9]
Ernani, de Verdi - Don Carlo, Giovanna
La favorite, de Donizetti - Léonor
La fille du régiment, de Donizetti - Marie
La gazza ladra, de Rossini - Pippo e Ninetta
Giovanna D'Arco^{[ it ]},^[10] cantata, de Rossini
Giulietta e Romeo, de Vaccai - Romeo
Il giuramento, de Mercadante - Bianca^[11]
Ildegonda, de Marco Aurelio Marliani - Rizzardo^[12]
L'italiana em Algeri, de Rossini - Isabella
Lara, de Salvi - Mirza
Linda di Chamounix, de Donizetti - Pierotto
Lucrezia Borgia, de Donizetti - Maffio Orsini
Luisa Miller, de Verdi - Federica^[13]
Maria di Rohan, de Donizetti - Gondi
Martha, por Flotow - Nancy
Il matrimonio segreto, de Cimarosa - Fidalma
Messias, oratório de Händel
La pazza per amore, de Coppola - Nina^[11]
Norma, de Bellini - Norma
Le nozze di Figaro, de Mozart - A página (Cherubino)
Oberon, de Weber - Fátima
Petite messe solennelle,^[14] massa de Rossini
Le prophète, de Meyerbeer - Fidès
La reine de Chypre, de Halévy - Catarina
Rigoletto, de Verdi - Maddalena
Saffo, de Pacini - Climene
Semiramide, de Rossini - Arsace
La sibilla, por Pietro Torrigiani - Ismailia
La sonnambula, de Bellini - Amina
Stabat mater, Hino mariano, de Rossini
Tancredi, de Rossini - Tancredi
Il trovatore, de Verdi - Azucena
Zerline, de Auber - Zerline^[15]
La zingara, de Balfe - Rainha dos Ciganos^[16]
Les Huguenots, de Meyerbeer - A página (Urbain)

Referências

[1]
Date stated by both Ciliberti and Pougin; the 1911 Encyclopædia Britannica gives the year as 1823.
[2]
"She was a real contralto from f₃ to g₅, then, up to c₆, she was an excellent soprano. Which enabled her to perform, with some adjustments ['con qualche "accomodo"'], also Zerlina in Don Giovanni, Amina in La sonnambula and Marie in La fille du régiment" (Celletti, pp. 243–244). In fact, her voice could reach down to f₃ only while practising: in public her lowest note was g₃. Alboni also reported that on practising she could sometimes climb up to e₆ flat (Pougin, 2001, p. 96).
[3]
Article: Alboni, Marietta, in Gilman, D. C.; Thurston, H. T.; Moore, F., New International Encyclopedia (1st ed.). New York: Dodd, Mead, 1905, I, p. 285. Not all sources, however, agree with the author of NIE; surely not Henry Wadsworth Longfellow, who was very keen on opera, somewhat of a connoisseur. "Alboni was sublime in Norma, last night," he wrote to his best friend Charles Sumner on 15 February 1853, "Would you had been with us, in our snug box." (quoted in Christoph Irmscher, Public Poet, Private Man: Henry Wadsworth Longfellow at 200, University of Massachusetts Press, 2009, p. 6. ISBN 9781558495845). Walt Whitman went even farther likening "Alboni in the children's scene in Norma" to a marvel of Nature, such as "the wild sea-storm" he had once seen "one winter day, off Fire island", or "night-views … on the field, after battles in Virginia, or the peculiar sentiment of moonlight and stars over the great Plains, western Kansas" (Seeing Niagara to advantage, in Complete Prose Works, Kila MT/US, Kessinger Publishing, 2004, pp. 179–180, ISBN 9781419113703)
[4]
Ciliberti; Celletti, pp. 243–244.
[5]
Pougin, 2001, pp. 115-116.
[6]
The role of the young musician is not mentioned by Pougin, but was certainly performed at the Royal Italian Opera (Covent Garden) in 1847 and 1848 (Royal Italian Opera, «The Musical World», n. 26, volume XXII, 26 June 1847, p. 445, and n. 25, volume XXIII, 17 June 1848, p. 389; accessible for free online at Books.Google: Volume XXII and Volume XXIII). The latter article seems also to disprove Elizabeth Forbes's statement that Alboni performed in the 1748 season of the Royal Italian Opera the role of Romeo in Bellini's I Capuleti e i Montecchi, which was sung, instead, by Pauline Viardot (Elizabeth Forbes, Alboni, Marietta, in Laura Macy (ed), The Grove Book of Opera Singers, New York, Oxford University Press, 2008, pp. 6–7, ISBN 978-0-19-533765-5).
[7]
Pougin does not mention the character, but it is that of Neocle, transposed for contralto in the Italian version of the opera. It was Alboni's debut role at the Teatro alla Scala (italianOpera. Retrieved 17. October 2011).
[8]
The première of this opera was performed at Prague in 1846 (William Ashbrook, Gordigiani. (2) Gordigiani, Giovanni Battista, in Stanley Sadie, II, p. 489) It should hence be a role created by Alboni.
[9]
The character name, not mentioned by Pougin, is reported in the original libretto (cf. italianOpera. Retrieved 17 October 2011); it is a role created by Alboni (Milan, 1844). According to Casaglia, Alboni performed, instead, a would-be role of Eudossia, which is not even stated by the original libretto among the other characters of this opera.
[10]
Performance not mentioned by Pougin, but stated by Gherardo Casaglia.
[11]
The character name, not mentioned by Pougin, is reported by Gherardo Casaglia.
[12]
The character name, not mentioned by Pougin, is reported in the original libretto (cf. italianOpera. Retrieved 15 October 2011); it is a role created by Alboni (Milan, 1843).
[13]
The character name, not mentioned by Pougin, is reported in Frederick J. Crowest, Verdi: Man and Musician. His Biography with Especial Reference to his English Experiences, Londra, Milne, 1897, p. 99 (accessible for free online at Open Library.org). Given the minor nature of the part, however, Alboni "[substituted] a cavatina for the original duet of the opera" (the part was sung at Her Majesty's Theatre, London, 1858).
[14]
Not mentioned by Pougin (non-operatic performance).
[15]
It was a première (Paris, 1851).
[16]
The character name is not mentioned by Pougin; in his biography of Balfe, however, William Alexander Barret states that the two primadonnas of La Zingara (an Italian version of The bohemian girl, which was given in the first experimental winter season at Her Majesty's Theatre, in 1858) were Alboni and Marietta Piccolomini (Balfe: His Life and Work, London, Remington, 1882, p. 229; accessible for free online at Open Library.org). Considering that the latter certainly performed the soprano leggiero part of Arline (cf., for instance, Music with ease. Retrieved 15 October 2011), it follows that Alboni expectedly interpreted the contralto role of the Gypsy Queen.

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