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- W2472462889 abstract "The women musicians best known to the English public were, without question, singers. While their vehicles of vocal artistry included oratorio, art song, and ballads, the heights of fame were reached only by the stars of opera: during the 1870s, shop windows displayed photographs of Patti,Albani,Trebelli, and Nilsson alongside those of Disraeli, Gladstone, and other men of the highest prominence.1 Supremely self-confident, multi-lingual—(a New York journalist described Patti’s speech as “Franco-Anglo-Teutonic-Italian chatting”)2—at home in all of Europe’s major courts and capitals, and feted, during widely publicized travels, by the social elites of the Americas, South Africa, and Australia, the great prima donnas were, except for empresses and queens, the most highly paid women of their time. In the mid-1880s, the critic H. Sutherland Edwards pointed out that the highest-earning women singers commanded incomes far larger than were paid to any government official, incomes double the size of those earned by ambassadors. Unlike those highly placed men, however, the singers could accept gifts without restriction,3 no small advantage, as presents as lavish as diamond tiaras were central elements in the rituals of diva-reception, appropriate forms of tribute to the goddesses of voice." @default.
- W2472462889 created "2016-07-22" @default.
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- W2472462889 date "2000-01-01" @default.
- W2472462889 modified "2023-10-16" @default.
- W2472462889 title "Immortal Tones: Woman as Public Singer" @default.
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- W2472462889 doi "https://doi.org/10.1057/9780312299347_6" @default.
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