Scan 30
The American history and encyclopedia of music, 1908
12 lines. Read by computer on 11 September 2026. Printed page 13. See the scan on archive.org.
1Malibran
2Brussels, then to Aix-la-Chapelle, where with her husband she gave two concerts. In September, 1836, she went to England to sing at the Manchester Festival, but while there she was taken ill of a fever brought on by the injuries she had received in the accident, and, though she fulfilled her engagement, she died a few days later. According to critics who heard her, Malibran's power lay not alone in her voice but in her remarkable originality and style and in her wonderfully magnetic personality. Her delightful mental powers constituted half her charms.
4Mallinger (mäl'-līng-ër), Mathilda. 1847-
5Opera-singer and teacher, who has been a great public favorite at Berlin. She was born in Agram, in Croatia, and received her first music lessons from her father, a music-teacher there. She then studied with Professor Lichtenegger, with Gordigiani and Vogl at the Prague Conservatory, which she attended from 1863 to 1866, and with Richard Lewy at Vienna. Lachner helped her to get a position at Munich, and she made her debut as Norma in 1866. In 1868 she created the part of Eva in Die Meistersinger, and in 1869 was engaged for the Court Opera at Berlin, where she appeared as Elsa and Norma, and where her popularity began. She married Baron Schimmel-pfennig von der Oye and stayed at Berlin until 1882. She also sang at Munich, Vienna, St. Petersburg and Moscow. Her best known roles are Fidelio, Jessonda, Leonora, in Trovatore; and Susanna. In 1890 she taught at the Prague Conservatory, and in 1895 became an instructor at the Eichelberg Conservatory at Berlin.
7Malten (mäl'-tēn), Therese. 1855-
8Prussian opera-singer, especially noted for her representation of Wagnerian roles. She was born in Insterburg, Eastern Prussia, and appeared for the first time as Pamina and Agatha in Dresden. She continued singing the soprano parts in the Italian Opera in Dresden for many years, and was finally given a pension. In 1880 she was chamber-singer to the King of Saxony; in 1882 sang the part of Kundry at Bayreuth to the satisfaction of Wagner, and in 1884 appeared in the same role before King Ludwig at Munich, for which he gave her a gold medal of Arts and Science. In 1882 she accompanied Richter on his successful Wagnerian enterprise, and in 1883 was appointed by Wagner to sing the part of Isolde at Bayreuth, but his death prevented the presentation. In 1886 she sang in Tristan and Siegfried at Richter's concerts, and it is said that her voice was never better than at this time. She appeared in 1896 at the Bristol Festival. Among her roles are Iphigenia; Fidelio; Leonora in Trovatore; Margaret; Goldmark's Queen of Sheba; Fulvia in Hofmann's Arminus; and many Wagnerian roles.
10Mancinelli (män-chī-nēl'-lē), Luigi. 1848-
11One of the most popular and successful of modern opera conductors. Was born at Orvieto, in the Papal States, Italy. Although his father intended him for a commercial career, he taught him piano when he was only about six years old. By the time he was twelve his love of music had developed to such an extent that he went to Florence to study with Professor Sbolci, a celebrated violoncellist, and to take counterpoint and harmony for a short time of Mabelli. This was the only musical schooling he ever had, although he educated himself further by careful study of the compositions of the masters. When he was about fifteen years old he became third violoncellist at the Pergola Theatre in Florence, and for about eight years supported himself by playing, teaching and composing songs. He then went to Rome as violoncellist at the Apollo Theatre, and, when this theatre was unexpectedly bereft of its conductor in 1875, he was given the position, which he filled satisfactorily. In 1876 he was musical director of the fêtes in honor of Spontini's Centenary at Jesi, and revived that master's Le Vestale with such success that he was re-engaged as conductor of the Apollo Theatre. During this year his first composition appeared, an intermezzo to Pietro Cossa's Messalina, and in 1877 he wrote an intermezzo to the drama, Cleopatra, by the same author. In 1881 he went to Bologna, where as director of the Conservatory he had great influence, improving that institution until it became one of the best musical schools of Italy. He also held the position of conductor at his-
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