Maria Malibran

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Maria Felicia Malibran (24 March 1808 – 23 September 1836) was a Spanish singer who commonly sang both contralto and soprano parts, and was one of the best-known opera singers of the 19th century.

Malibran was known for her stormy personality and dramatic intensity, becoming a legendary figure after her death at age 28.

Contemporary accounts of her voice describe its range, power and flexibility as extraordinary.

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Life and career

Marcia Felicitas Garc's Sitches was born in Paris and became a member of a well-known Spanish musical family. Joaquina Sitches, an actress and operatic singer, was her mother. Manuel Garca, her father, was a heralded tenor greatly respected by Rossini for his role as Count Almaviva in his The Barber of Seville. Garca was also a composer and a popular vocal instructor, and he was her first voice coach. He was described as flexible and tyrannical, and his lessons with his daughter became a constant battle between two mighty egos.

In Ferdinando Par's Agnese when she was 8 years old, Malibran appeared on stage with her father. When she was 17, she was a singer in the King's Theatre in London's choir. When prima donna Giudita Pasta was inactive, Garca suggested that his daughter take over in the role of Rosina in The Barber of Seville. The young mezzo adored the stage, and she kept performing this role until the end of the season.

Garca took his operatic troupe to New York straight after the season ended. Maria, her brother, Manuel, and their mother, Joaquina Sitches, were the troupe's members. Pauline, Maria's younger sister who would later become a well-known singer under the name of Pauline Viardot, was only four years old.

It was the first time that Italian opera had been seen in New York. Maria performed the leading roles in eight operas over the course of nine months, two of which were written by her father. Francois Eugene Malibran, a 28-year-old banker, was born in New York and he happily married her banker Francois Eugene Malibran, who was 28 years old. Maria is said to have been forced to marry him in exchange for the banker's promise to give Manuel Garc 200,000 francs. On other accounts, she married simply to flee her tyrannical father. Maria was compelled to help her husband recover after he's declared bankruptcy a few months after the wedding, and she was compelled to assist him in his absences. After a year of Malibran and returned to Europe, she left Malibran and returned to Europe.

Malibran performed the title role at the premiere of Donizetti's Maria Stuarda in Europe. The opera was based on Friedrich Schiller's play Mary Stuart, and as it depicted Mary, Queen of Scots, in a sympathetic light, censors demanded textual revisions, which Malibran usually dismissed. A collection of intriguing coloured costume pieces for this play, created by Malibran, preserves her surprising drawing talent.

Malibran became romantically linked with Belgian violinist Charles Auguste de Bériot. The pair lived as a common-law couple for six years, and a child was born in 1833 (the piano pedagogue Charles-Wilfrid de Bériot) before Maria obtained an annulment of her marriage to Malibran. Felix Mendelssohn accompanied an aria by a solo violin, especially for the couple. In addition to other major opera houses, Malibran appeared at the Paris Opera. She met and performed with Michael Balfe in Paris.

Malibran moved to England in 1834 and began to perform in London and Europe. She appeared in Vincenzo Bellini's La sonnambula on April 8, 1835, where she gave her appearance to the defunct Teatro San Giovanni Grisostomo, sparking its revival. Teatro Malibran had been renamed and lauded as the country's patroness. She appeared in The Maid of Artois, written for her by Balfe in late May 1836. She had returned to Milan earlier this year to perform in the debut of Vain's Giovanna Gray. Malibran fell from her horse in July 1836 and sustained injuries from which she never recovered. She refused to see a doctor and continued to perform. Malibran was in Manchester in September 1836, during a music festival held at the collegiate church and Theatre Royal on Fountain Street. She collapsed on stage during her encores at the theater, but the following morning, she died after a week of agony attended by her private physician. Her body was temporarily laid to rest in the church following a public funeral before being moved to a mausoleum in Laeken Cemetery, near Brussels, Belgium. The Library of The Royal Conservatory of Brussels conserves, among other things, the death mask, Dr. Belluomini's touching four-page funerary report, and the authorisation of the Manchester ecclesiastical authority to have Malibran's body transfer to Brussels (Maria Malibran fund, B-006 sq. ), among other items. (Cert.)

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