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Izabella Angela KolbranSinger, soprano
Date of Birth: 02.02.1785
Country:  Spain |
Content:
- Biography of Isabella Angela Colbran
- Early Life and Training
- Career and Collaboration with Rossini
- Later Years and Legacy
Biography of Isabella Angela Colbran
IntroductionIsabella Angela Colbran was a renowned opera singer and soprano who possessed a rare and exceptional voice. Her vocal range spanned nearly three octaves and was characterized by remarkable smoothness, tenderness, and beauty across all registers. Colbran had a refined musical taste, mastery of phrasing and nuance (earning her the nickname "black nightingale"), and was well-versed in the secrets of bel canto. She was also renowned for her acting talent and ability to portray deeply suffering, passionate women in romantic roles on stage. Some of her notable roles include Elizabeth I in "Elizabeth, Queen of England," Desdemona in "Othello," Armida in "Armida," Elcia in "Moses in Egypt," Elena in "The Woman of the Lake," Hermione in "Hermione," Zelmira in "Zelmira," and Semiramide in "Semiramide." She also performed roles such as Giulia in "La vestale," Donna Anna in "Don Giovanni," and Medea in "Medea in Corinto."
Early Life and Training
Isabella Angela Colbran was born on February 2, 1785, in Madrid. She was the daughter of a Spanish court musician and received her initial vocal training in Madrid under F. Pareja. She later studied in Naples under G. Marinelli and G. Crescentini, with the latter refining her voice. Colbran made her debut in 1801 at a concert in Paris. However, her greatest successes awaited her in the opera houses of Italian cities.
Career and Collaboration with Rossini
Starting from 1808, Colbran became a soloist in the opera theaters of Milan, Venice, and Rome. In 1811, she joined the San Carlo Theatre in Naples, where she first met the promising composer Gioachino Rossini. They had previously met in 1806 when both were recognized for their vocal merits by the Bologna Music Academy. However, it was their encounter in 1815 that marked the beginning of their significant collaboration. Rossini, already famous, came to Naples to stage his opera "Elizabeth, Queen of England," in which Colbran was to perform the title role. Rossini was immediately captivated by her talent and beauty. Stendhal described her as having "features of a special kind of beauty, particularly striking on stage, with her tall stature, fiery eyes like a Circassian, and a mass of jet-black hair. Added to all this was her penetrating tragic acting. In her personal life, this woman had no more dignity than the owner of a fashionable shop, but as soon as she crowned herself with a diadem, she immediately began to command involuntary respect even from those who had just conversed with her in the foyer."
Colbran was at the peak of her artistic career and physical beauty at that time. She was patronized by the famous impresario Barbaja, who was also her close friend. She even received patronage from the king himself. From their first meetings working on the role, Rossini and Colbran grew closer due to their shared admiration for each other's talents and personalities. The premiere of "Elizabeth, Queen of England" took place on October 4, 1815. According to A. Frakkaroli, "It was a grand spectacle to celebrate the prince's birthday. The enormous theater was packed. The atmosphere in the hall was tense, like before a battle. Alongside Colbran, the performance featured S. Dardanelli, the famous tenors Andrea Nozzari and Manuel Garcia, the Spanish singer whose lovely little daughter Maria, who had just started to sing, performed. These were the first vocalizations of the one who would later become the renowned Maria Malibran. Initially, the audience had a hostile and severe attitude until the duet between Nozzari and Dardanelli melted their hearts. Then, when a wonderful minor melody was performed, the enthusiastic, exuberant, and passionate Neapolitans could no longer contain their emotions. They forgot their prejudice and burst into an incredible ovation."
Colbran's portrayal of Queen Elizabeth was considered one of her best achievements, according to contemporary witnesses. Even Stendhal, who did not favorably view the singer, had to admit that she surpassed herself, demonstrating "incredible vocal flexibility" and the talent of a "great tragic actress." She sang the final aria, "Lovely, Noble Soul," which was extremely challenging to perform, exceptionally well. It was said that she opened a musical box, revealing all the treasures of her voice.
Rossini, although not wealthy at the time, could offer Colbran more than just diamonds – he composed romantic heroines specifically tailored to her voice and appearance. Some accused Rossini of sacrificing the expressiveness and dramatic intensity of his compositions to cater to Colbran's embellishments. However, it is evident that Rossini, inspired by his "charming friend," composed tirelessly and selflessly. A year after "Elizabeth, Queen of England," Colbran sang Desdemona in Rossini's new opera "Othello." Even among the exceptional performers of Nozzari as Othello, Chichimarra as Iago, and Davide as Rodrigo, Colbran stood out. Her performance in the third act was a storm that shattered everything and tore souls apart. In the midst of this storm was an island of calm and charm – the "Willow Song," which Colbran performed with such sensitivity that it moved the entire audience.
Colbran went on to perform several other roles in Rossini's operas, such as Armida in "Armida," Elcia in "Moses in Egypt," Elena in "The Woman of the Lake," Hermione in "Hermione," Zelmira in "Zelmira," and Semiramide in "Semiramide." Her repertoire also included soprano roles in operas such as "The Thieving Magpie," "Torvaldo and Dorliska," and "Ricciardo and Zoraide."
Later Years and Legacy
After the premiere of "Moses in Egypt" on March 5, 1818, a local newspaper wrote, "It seemed that 'Elizabeth' and 'Othello' did not leave Signora Colbran any hopes for new theatrical laurels. However, in the role of the tender and unfortunate Elcia in 'Moses,' she showcased herself even more than in 'Elizabeth' and 'Desdemona.' Her performance was highly tragic, her intonations sweetly touched the heart and filled it with bliss. In the final aria, which, in terms of expressiveness, design, and color, is one of the most beautiful by our Rossini, the souls of the audience underwent the strongest excitement."
Colbran and Rossini's relationship fluctuated over the next six years, with periods of togetherness and separation. During the creation of "The Woman of the Lake," which Rossini composed specifically for her and which was unjustly booed during its premiere, Colbran became very affectionate with him. For the first time in her life, she felt a tender fondness and a pure and genuine sentiment that she had not experienced before. She had a motherly desire to console this big child who had revealed himself to her in a moment of sadness, discarding his usual mask of mockery. At that moment, she realized that her previous lifestyle was no longer satisfactory and revealed her feelings to Rossini. Her sincere expressions of love brought immense joy to Rossini, as he had only heard customary endearing words expressing sensory curiosity and swiftly extinguishing passions from women. Isabella and Gioachino began to consider marrying and living together, working in the theater that had often brought them triumphs.
Passionate but practical, Rossini also considered the financial aspect, believing that their union was beneficial from all perspectives. He received more money than any other maestro (although not a significant amount, as the work of a composer was poorly rewarded), which allowed him to live comfortably. Isabella was wealthy, with properties and investments in Sicily, including a villa and lands in Castenaso, ten kilometers from Bologna, which her father acquired from the Spanish College during the French invasion and left to her as an inheritance. Her capital amounted to forty thousand Roman scudi. Moreover, Isabella was a renowned singer, and her voice brought her enormous wealth. With such a celebrated composer, who was in high demand by impresarios, her earnings would increase even further. Rossini also ensured his operas had an outstanding performer.
They married on March 6, 1822, in Castenaso, near Bologna, at the Virgin del Pilar Chapel on Colbran's estate. By then, it was evident that Colbran's best years were behind her. The vocal difficulties of bel canto were becoming challenging for her, and she often sang off-key, losing the flexibility and brilliance of her voice. In 1823, Isabella Angela Colbran performed in Rossini's opera "Semiramide," which marked her last appearance on stage. She tried to conceal the obvious vocal flaws with her exceptional artistry, but it led to great disappointment. "Semiramide" became her farewell opera. She occasionally appeared in salon concerts but stopped performing regularly.
To fill the void in her life, Colbran turned to gambling and became heavily addicted. This was one of the reasons why the relationship between Rossini and Colbran grew more distant. Rossini found it difficult to tolerate his spoilt wife's capricious nature. In the early 1830s, when Rossini met and fell in love with Olympe Pélissier, it became evident that their separation was inevitable.
In her remaining days, Colbran resided in Castenaso, where she died on October 7, 1845, in complete solitude, forgotten by all. The songs she composed throughout her life were also forgotten.
