![MALIBRAN, Maria (1808-1836). Autograph letter signed ('M.F. Malibran') to 'Monsieur le Marquis' (possibly an ambassador), n.p. [Rome], n.d. [30 June 1832], 2½ pages, 4to; and two autograph sketches, in pencil, the first a portrait of Saint Mark wearing a plumed cap, the second of the composer Théodore Labarre with, on the verso, a sketch of a woman, both in pencil, 210 x 140mm, each inscribed and signed by her son Charles-[Wilfrid] de Bériot, confirming its authenticity. Provenance: the drawings were formerly in the collection of Sacha Guitry (dispersed by sale 21 November 1974).](https://www.christies.com/img/LotImages/2007/CKS/2007_CKS_07411_0299_000(022249).jpg?w=1)
细节
MALIBRAN, Maria (1808-1836). Autograph letter signed ('M.F. Malibran') to 'Monsieur le Marquis' (possibly an ambassador), n.p. [Rome], n.d. [30 June 1832], 2½ pages, 4to; and two autograph sketches, in pencil, the first a portrait of Saint Mark wearing a plumed cap, the second of the composer Théodore Labarre with, on the verso, a sketch of a woman, both in pencil, 210 x 140mm, each inscribed and signed by her son Charles-[Wilfrid] de Bériot, confirming its authenticity. Provenance: the drawings were formerly in the collection of Sacha Guitry (dispersed by sale 21 November 1974).
THE TRIALS OF A DIVA'S DEBUT IN ROME. Malibran hotly denies that the two opening performances are for her own benefit. 'C'est avec bien de la peine, comme vous avez pu le voir ... que j'ai surmonté une formidable cabale qui s'était montée contre moi, grâce aux faux rapports du manifeste que M[onsieu]r le Directeur du Théatre a eu la bonté de faire mettre à mon insçu -- J'ai parlé, pleuré, expliqué, menacé (le D[irect]eur) de ne plus paraître sans une reparation qui m'excusat devant le public'. Her correspondent is begged to use his influence to set the record straight by a few words in the press before the second performance.
Malibran had been engaged to give six performances -- her first in Italy -- as Desdemona in Rossini's Otello at the Teatro Valle; the director had quadrupled the price of the seats leading to rumours that the opening performances were for her own benefit. This led to whistling and booing on the first night (30 June), but the matter was resolved and she was rapturously received on her next appearance. Born into a musically talented Spanish family (her father created the role of Almaviva in Rossini's Barbiere de Sevilla), Malibran had a son by her second marriage, to a Belgian violinist. Charles-Wilfrid de Bériot, a pianist, taught among others Granados and Ravel who dedicated his Rhapsodie espagnole to him. (3)
THE TRIALS OF A DIVA'S DEBUT IN ROME. Malibran hotly denies that the two opening performances are for her own benefit. 'C'est avec bien de la peine, comme vous avez pu le voir ... que j'ai surmonté une formidable cabale qui s'était montée contre moi, grâce aux faux rapports du manifeste que M[onsieu]r le Directeur du Théatre a eu la bonté de faire mettre à mon insçu -- J'ai parlé, pleuré, expliqué, menacé (le D[irect]eur) de ne plus paraître sans une reparation qui m'excusat devant le public'. Her correspondent is begged to use his influence to set the record straight by a few words in the press before the second performance.
Malibran had been engaged to give six performances -- her first in Italy -- as Desdemona in Rossini's Otello at the Teatro Valle; the director had quadrupled the price of the seats leading to rumours that the opening performances were for her own benefit. This led to whistling and booing on the first night (30 June), but the matter was resolved and she was rapturously received on her next appearance. Born into a musically talented Spanish family (her father created the role of Almaviva in Rossini's Barbiere de Sevilla), Malibran had a son by her second marriage, to a Belgian violinist. Charles-Wilfrid de Bériot, a pianist, taught among others Granados and Ravel who dedicated his Rhapsodie espagnole to him. (3)
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