George T. Ferris: Giuditta Pasta, in: Great singers, Bd. I („Faustina Bordoni to Henrietta Sontag, First Series“), D. Appleton & Co, New York 1889, S. 171–196, hier: S. 172. Online auf: archive.org (gesehen am 28. August 2019)
George T. Ferris: Giuditta Pasta, in: Great singers, Bd. I …, New York 1889, S. 171–196, hier: S. 175. Online auf: archive.org
„Nothing could have been more free from trick or affectation than Pasta's performance. There is no perceptible effort to resemble a character she plays; on the contrary, she enters the stage the character itself; transposed into the situation, excited by the hopes and fears, breathing the life and spirit of the being she represents.“ In: George T. Ferris: Giuditta Pasta, in: Great singers, Bd. I („Faustina Bordoni to Henrietta Sontag, First Series“), D. Appleton & Co, New York 1889, S. 171-196, hier: S. 176-177. Online auf: archive.org (gesehen am 28. August 2019)
bnf.fr
gallica.bnf.fr
François-Joseph Fétis: „PASTA (Judith)“, in: Biographie universelle des musiciens, Bd. 6, 2. Aufl., Paris 1860–1868, S. 463–464, hier 464. Online auf: gallica.bnf.fr / Bibliothèque nationale de France (französisch; abgerufen am 29. August 2019)
google.it
books.google.it
„Nobody (the admirers of Rubini must forgive me) ever sang the great air from Pacini‘s „Niobe“, „Il soave e bel contento“, as Madame Pasta did, though everyone has tried to sing it.“ IN: Henry Fothergill Chorley: Kapitel Madame Pasta, in: Thirty Years' Musical Recollections, Bd. I, Hurst and Blackett, London 1862, S. 125–139; hier: S. 131 (Fußnote). Online auf: Google-Books (englisch; gesehen am 19. August 2019)
„During this last visit referred to her voice was steadily out of tune, with some exceptional moments. Painful as this was to the ear, she was none the less the „Queen and wonder of the enchanted world of sound“ in right of all those attributes which age cannot wither, neither custom stale. The grandeur of her style had undergone no decay, her wonderful musical perception was unimpaired; so were her incomparable taste, courage, and yet moderation, in ornament.“ IN: Henry Fothergill Chorley: Kapitel Madame Pasta, in: Thirty Years' Musical Recollections, Bd. I, Hurst and Blackett, London 1862, S. 125–139, hier: 132-135. (Wiederauflage: Horizon Press, New York 1983) Online auf: Google-Books (englisch; gesehen am 19. August 2019)
„Her voice … had been long ago given up by her. Its state of utter ruin on the night in question passes description.“ IN: Henry Fothergill Chorley: Kapitel Madame Pasta, in: Thirty Years' Musical Recollections, Bd. I, … London 1862, …, S. 136. Online auf: Google-Books
„… It is like the cenacolo of Da Vinci in Milan – a wreck of a picture, but the picture is the greatest picture in the world!“ IN: Henry Fothergill Chorley: Kapitel Madame Pasta, in: Thirty Years' Musical Recollections, Bd. I, … London 1862, …, S. 139. Online auf: Google-Books
„Her voice was, originally, limited, husky, and weak – without charme, without flexibility – a mediocre mezzo-soprano.“ In: Henry Fothergill Chorley: Kapitel Madame Pasta, in: Thirty Years' Musical Recollections, Bd. I, … London 1862, …, S. 128. Online auf: Google-Books
„To equalize it (= the voice) was impossible. There was a portion of the scale which differed from the rest in quality, and remained to the last ‚under a veil,‘ to use the Italian term. There were notes always more or less out of tune, especially at the commencement of her performances. … Her studies to acquire execution must have been tremendous; but the volubility and brilliancy, when acquired, gained a character of their own, from the resisting peculiarities of the organ. There were a breadth, an expressiveness in her roulades, an evenness and solidity in her shake, which imparted to every passage a significance totally beyond the reach of lighter and more spontaneous singers.“ In: Henry Fothergill Chorley: Kapitel Madame Pasta, in: Thirty Years' Musical Recollections, Bd. I, … London 1862, …, S. 129. Online auf: Google-Books
„But the greatest grace of all – depth and reality of expression – was possessed by this remarkable artist as few (I suspect) before her – as none whom I have since admired – have possessed it. … Her recitative, from the moment when she entered, was riveting by its truth.“ In: Henry Fothergill Chorley: Kapitel Madame Pasta, in: Thirty Years' Musical Recollections, Bd. I, … London 1862, …, S. 129. Online auf: Google-Books
Francesco Lora: „Negri (Pasta), Giuditta (Angiola Maria Costanza Giuditta)“, in: Dizionario Biografico degli Italiani, Volume 78, 2013. Online auf „Treccani“ (italienisch; gesehen am 20. August 2019)
«préparée avec beaucoup d’art et exécutée avec une force de sentiment, une vérité effrayante dans les accents et le geste» (Castil-Blaze, S. 225 f.). Hier nach: Francesco Lora: „Negri (Pasta), Giuditta (Angiola Maria Costanza Giuditta)“, in: Dizionario Biografico degli Italiani, Volume 78, 2013. Online auf „Treccani“
d. h. die obengenannten Opern Otello, Tancredi und Zelmira von Rossini; Giulietta e Romeo von Zingarelli; Nina von Paisiello; Medea in Corinto von Mayr. Francesco Lora: „Negri (Pasta), Giuditta (Angiola Maria Costanza Giuditta)“, in: Dizionario Biografico degli Italiani, Volume 78, 2013. Online auf „Treccani“
«pel vostro carattere enciclopedico», in: Francesco Lora: „Negri (Pasta), Giuditta (Angiola Maria Costanza Giuditta)“, in: Dizionario Biografico degli Italiani, Volume 78, 2013. Online auf „Treccani“
Die Rollen werden im laufenden Text genannt in: Francesco Lora: „Negri (Pasta), Giuditta (Angiola Maria Costanza Giuditta)“, in: Dizionario Biografico degli Italiani, Volume 78, 2013. Online auf „Treccani“
unibo.it
corago.unibo.it
Siehe auch Liste von Opern, in denen die Pasta auftrat, auf „Corago“ (gesehen am 20. August 2019)
