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300:, then English foreign secretary, the matter was arranged by arbitration. Count Gigliucci, the governor of Fermo, fell in love with his prisoner; she agreed to marry him as soon as professional engagements permitted. At Novello's last appearance in Rome she was recalled twenty-nine times; there was some disturbance at Genoa. In March she returned to England, and appeared in English opera at
188:, and was placed under Miss Hill, the leading singer, and John Robinson, organist of the Roman Catholic chapel there. Her talents were at once displayed; and on Easter Sunday, when Miss Hill was suddenly indisposed, Clara offered to sing all her solos from memory, and succeeded. In 1829, she became a pupil of the
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declared that nothing for years past had given him so much pleasure as Miss
Novello's voice, 'every note sharply defined as on the keyboard.' Mendelssohn wrote that Clara Novello and Mrs. Shaw (her successor next winter) 'are the best concert singers we have heard in Germany for a long time.' She
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at Drury Lane on 5 July 1853. At Milan, she sang in opera during the carnivals from 1854–6. In
England her singing was regarded as the embodiment of the best traditions of the Handelian style; like Mara and Catalani before, and Lemmens-Sherrington after, she was specially distinguished in her
196:'s music was much sung, and Clara ascribed her perfect sostenuto to having sung in his motets, and being obliged to hold the suspensions. The academy declined after the revolution of 1830, and Clara, who had had unpleasant experiences of the fighting, returned to England.
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Owing to the mismanagement of agents, she was announced to sing at two places – at Rome and Genoa – during the carnival of 1843; the Roman authorities refused a permit to leave the territory and detained her under arrest at Fermo. On her appealing as a
British subject to
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at Exeter Hall. Her embellishments brought some disapprobation, though her voice was pronounced to have gained in strength, and to have lost nothing of its beauty. She took the place of leading
English concert soprano, appearing only once again in England in opera, in
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During the troubles of 1848 their property was confiscated, and the countess resolved to resume her public appearances. In 1850, she sang in opera at Rome; then at Lisbon, and on 18 July 1851 re-appeared in London, singing in Handel's
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Probably the finest revelation of her powers was at the Handel
Festival there in June 1859. She then determined to retire. After singing in Handel's 'Messiah' at the Crystal Palace, she made her last appearance at a benefit concert at
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In 1839, she once more made a concert tour, travelling down the Rhine to DĂĽsseldorf, through North
Germany to Berlin, and thence to St. Petersburg. Her first appearance on the stage was at Padua in Rossini's
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Concerts, Leipzig, where she appeared on 2 November 1837, and several times later. She was well received, and succeeded in making German audiences appreciate Handel's solos.
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on 6 July 1841. Unqualified successes in Rome, Genoa, and other large
Italian cities followed; Rossini sent specially for her to take the soprano part in his just completed
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and at the Sacred
Harmonic Society and other concerts. On 22 November, she was married to Count Gigliucci at Paddington parish church, and retired with him to Italy.
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In her retirement she lived with her husband at Rome and Fermo. He died on 29 March 1893; she died, aged 89, on 12 March 1908, at Rome, leaving a daughter, Valeria.
160:, a musician and music publisher, and his wife, Mary Sabilla Hehl. Her acclaimed soprano and pure style made her one of the greatest vocalists, alike in opera,
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rendering of 'I know that my
Redeemer liveth,' and she sang the opening phrase in one breath. On the opening of the
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Her father's friend, Charles Lamb, though quite unmusical, wrote the lines 'To Clara N.' published in the
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and on the concert stage, from 1833 onwards. In 1843 she married Count
Gigliucci, and retired in 1861.
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On 22 October 1832, aged 14, she made her first public appearance, in a concert at
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in Paris. She always retained the strongest appreciation of her training there;
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She was born in Oxford Street, London, on 10 June 1818, the fourth daughter of
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at Bologna, she was advised to study opera for a year; she took lessons of
544:. Vol. 19 (11th ed.). Cambridge University Press. p. 838.
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sang also at Berlin, Dresden, Prague, Vienna, and Munich. Then visiting
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Edward Petre Novello (1813–1836), painter (of family portrait in NPG)
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on 21 November 1860, the final strain being the National Anthem.
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Children of Vincent Novello and Mary Sabilla Novello include
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in September 1836, she had much useful advice from the dying
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Cooper, Victoria L. "Novello, Clara Anastasia (1818–1908)".
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Sabilla Novello (1821–1904), singer and teacher of singing
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was her eldest sister. Clara was taken in childhood to
382:(née Novello) (1809–1898), literary scholar and writer
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Institution royale de musique classique et religieuse
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19:For the similarly named singer born in 1861, see
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363:was named for Clara Novello, and her own son
555:(online ed.). Oxford University Press.
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168:wrote a poem ("To Clara N.") in her praise.
535:"Novello, Vincent s.v. Clara Novello"
225:a very young girl with a clear good voice.
521:Grove's Dictionary of Music and Musicians
116:Learn how and when to remove this message
633:19th-century British women opera singers
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552:Oxford Dictionary of National Biography
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238:Catherine Stephens, Countess of Essex
134:An 1833 portrait of Clara Novello by
395:Emma Novello (1814–c. 1880), painter
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524:. T. Presser Col. pp. 411–412.
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583:Autograph letter by Clara Novello
513:. London: Smith, Elder & Co.
509:Dictionary of National Biography
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279:An 1863 print of Clara Novello
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145:Clara Novello, Lithograph by
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389:(1810–1896), music publisher
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380:Mary Victoria Cowden Clarke
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333:William Sterndale Bennett
500:Novello, Clara Anastasia
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541:Encyclopædia Britannica
180:and Mary Sabilla Hehl.
154:Clara Anastasia Novello
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498:Davey, Henry (1912). "
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463:"The Novello family"
401:(1818–1908), soprano
361:Clara Novello Davies
136:Edward Petre Novello
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21:Clara Novello Davies
613:Singers from London
304:; also in Handel's
255:invited her to the
242:Manchester Festival
219:Lord Mount-Edgcumbe
577:External reference
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347:Retirement
321:I Puritani
302:Drury Lane
287:Semiramide
272:at Milan.
257:Gewandhaus
194:Palestrina
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355:Influence
270:Micheroux
251:In 1837,
231:Athenæum,
205:Beethoven
172:Biography
261:Schumann
162:oratorio
506:(ed.).
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315:Messiah
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