Abstract
Abstract
Giulia Grisi (1811–1869), the first Adalgisa in Vincenzo Bellini's Norma (Milan, 1831), broke her Italian contract and left for Paris in 1832, where she became prima donna under Gioachino Rossini at the Théâtre Italien. In addition, she made her London debut in 1834, replacing Maria Malibran in the young Victoria's eyes and ears with her singing, acting, and flawless beauty, especially in the operas of the future Queen's favourite, Vincenzo Bellini. Grisi's real goal, however, was to conquer Giuditta Pasta's throne by embodying Norma: she first performed the role in London in 1835, and then in almost every season until 1861. Despite her success, she was unjustly attacked for copying Pasta, as established by Thomas G. Kaufman. Bellini himself likewise misjudged her, stating that “the elevated characters she does not understand, does not feel, because she has neither the instinct nor the education to sustain them with the nobility and the lofty style they demand.” “In Norma she will be a nonentity; … the role of Adalgisa is the only one suited to her character.” Nonetheless, even hostile critics like Henry F. Chorley had to acknowledge that “her Norma, doubtless her grandest performance … was an improvement on the model [i.e. Pasta]; … there was in it the wild ferocity of the tigress, but a certain frantic charm therewith, which carried away the hearer – nay, which possibly belongs to the true reading of the character.” The purpose of this article is to investigate Grisi's London reception, primarily in the context of her Norma performances.