A Dictionary of Music and Musicians/Caradori-Allan, Maria
CARADORI-ALLAN, Maria Caterina Rosalbina, née de Munck, was born in 1800 in the Casa Palatina at Milan. Her father, the Baron de Munck, was an Alsacian, and had been a colonel in the French army. Mlle. Munck's musical education was completed entirely by her mother, without assistance. Her father's death obliged her to avail herself of her gifts in order to support herself. Having attempted the stage in the course of a tour through France and part of Germany, she took her mother's family name of Caradori, and accepted an engagement in London in 1822. She made her début on Jan. 12 at the King's Theatre as Cherubino. 'It may be observed,' says Lord Mount-Edgcumbe, 'as an odd coincidence that Pasta, Vestris, and Caradori all have acted the Page in Le Nozze di Figaro, and none more successfully than the last, who by accident, not choice, made her début in that part; and it proved fortunate for her, as her charming manner of performing it laid the foundation of her subsequent favour.' She sang afterwards in 'La Clemenza di Tito,' 'Elisa e Claudio,' and 'Corradino,' as prima donna; and in 1834, as seconda donna, in 'Il Fanatico', with Catalani. She continued engaged through 1823 and 24; and in the latter year took her benefit in 'Don Giovanni.' In 25 she sang the second part in 'L'Adelina' of Generali, with Mad. Ronzi de Begnis as prima donna, showing thereby her great good nature. The same year, she played Fatima in Rossini's 'Pietro l'eremita,' and chose 'Così fan tutte' for her benefit; and at Velluti's début in 'Il crociate,' Mme. Caradori sang the first woman's part, distinguishing herself particularly in the duet 'Il tenero affetto' with the musico. In 1826, though still belonging to the company, she was removed for the purpose of introducing Bonini, who was better suited as a foil for Velluti; and Caradori, when she re-appeared in 'La Donna del Lago,' was received with joy by the public. She sang also in the 'Barbiere' and in 'Romeo e Giulietta;' and took her benefit in ' Le Nozze,' as Susanna. [App. p.579 adds that "she sang in the Ninth Symphony of Beethoven on its production at the Philharmonic, March 21, 1825."]
Pasta having returned to London, and chosen Mayer's 'Medea' for her benefit, Caradori acted and sang most charmingly the tender and gentle part of Creusa. There is a good portrait of her in this character by J. Hayter, lithographed by Hullmandel. Her voice, though not very powerful, was exceedingly sweet and flexible, and her style almost faultless. She had much knowledge of music, and sang with great delicacy and expression. In a room she was perfect. Her appearance was interesting, her countenance very agreeable, and her manner modest and unassuming: she always pleased, though she never astonished, her audience. Her salary rose gradually from £300 in 1822 to £1200 in 27. In 34, happening to be again in England, she carried on the operas with tolerable success until the arrival of the expected prima donna, Giulia Grisi. But it was in concerts that she now achieved her greatest success, and first of all in the Festival in Westminster Abbey in this same year, in which she sang with her usual excellence, and was well heard, though it had been feared that her voice was not powerful enough for so large a space. Her 'With verdure clad' appeared to Lord Mount-Edgcumbe to be 'decidedly the best solo performance of the whole concert.' She took part also in the performance of the 'Mount of Olives,' 'in which it need not be said she sang well,' and gave equally well 'Rejoice greatly,' which, though a brilliant song, did not show her to the best advantage. During the carnival of 1830 she sang with success at Venice, but after 1835 she remained in England, singing at festivals and concerts. She sang the soprano part in 'Elijah' at Birmingham, Aug. 26, 1846, when Mendelssohn's judgment of her performance was not so favourable as Lord Mount-Edgcumbe's (Letters, Aug. 31). She died on Sunday, Oct. 15, 1865.