Marietta Alboni

Italian opera singer
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Also known as: Maria Anna Marzia Alboni
Quick Facts
Original name:
Maria Anna Marzia Alboni
Born:
March 6, 1826?, Città di Castello, Papal States [Italy]
Died:
June 23, 1894, Ville d’Avray, near Paris, France

Marietta Alboni (born March 6, 1826?, Città di Castello, Papal States [Italy]—died June 23, 1894, Ville d’Avray, near Paris, France) was an Italian operatic contralto known for her classic Italian bel canto.

Alboni’s year of birth is uncertain. Many sources give 1826, whereas others list 1823 or 1822. One of her early biographers states that she herself gave her age as 30 when she arrived in the United States on tour in June 1852. Whatever the case, while a student at Bologna, Alboni captured the attention of Gioachino Rossini, who later was to instruct her in the main contralto roles in his operas. In 1842 she made her debut as Climene in Giovanni Pacini’s Saffo at Bologna, and she achieved a notable success in Rossini’s Le Siège de Corinthe at La Scala in Milan.

Alboni toured Austria (1843), Russia (1844–45), and Germany and eastern Europe (1846). In 1847 she made sensational English and French debuts at Covent Garden in London and the Théâtre-Italien in Paris in Rossini’s Semiramide. In 1852–53 Alboni toured Spain and the United States to great acclaim. She married, settled in Paris, sang at Rossini’s funeral in 1868, and retired because of her worsening obesity, making her final appearance in an opera in 1872.

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Alboni avoided rehearsing to save her voice, which remained beautiful well into her middle age. Because of the paucity of contralto parts, she also sang soprano roles and even male roles, such as the title role in Don Carlos.

The Editors of Encyclopaedia BritannicaThis article was most recently revised and updated by Amy Tikkanen.

The Barber of Seville

play by Beaumarchais
Also known as: “Le Barbier de Séville; ou, la precaution inutile”

The Barber of Seville, four-act farcical drama by Pierre-Augustin Beaumarchais, performed and published in 1775 as Le Barbier de Séville; ou, la precaution inutile (“The Barber of Seville; or, The Useless Precaution”). It was the basis of the 1816 opera Il barbiere di Siviglia by Gioachino Rossini, with a libretto by Cesare Sterbini. The play achieved great popularity for its ingeniously constructed plot and lively wit.

Rosine (known as Rosina in the opera), the ward of Dr. Bartholo, is kept locked in her room by Bartholo because he plans to marry her, though she despises him. Young Count Almaviva loves her from afar and uses various disguises, including one as Alonzo, a substitute music teacher, in his attempts to win her. Bartholo’s roguish barber Figaro is part of the plot against him. Indeed, it is Figaro who steals the key to Rosine’s room for Almaviva. Unfortunately, Almaviva is in his disguise as Alonzo when he meets Rosine. Though in love with “Alonzo,” Rosine is convinced by the suspicious Bartholo that Alonzo intends to steal her away and sell her to a wicked count. Disappointed, she agrees to wed Bartholo that very night. All of Figaro’s ingenuity is required to substitute Count Almaviva for Bartholo at the wedding ceremony.

This article was most recently revised and updated by Kathleen Kuiper.