Nancy Storace War Gebürtige Engländerin, Ging Aber Be- Reits Mit 13 Jahren Nach Italien, Wo Sie Ihre Ersten Gro- ßen Erfolge Feierte

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Nancy Storace War Gebürtige Engländerin, Ging Aber Be- Reits Mit 13 Jahren Nach Italien, Wo Sie Ihre Ersten Gro- ßen Erfolge Feierte Storace, Nancy in Opern ihres Bruders Stephen Storace große Erfolge. Orte und Länder Nancy Storace war gebürtige Engländerin, ging aber be- reits mit 13 Jahren nach Italien, wo sie ihre ersten gro- ßen Erfolge feierte. 1783 wurde sie nach Wien engagiert, wo sie bis 1787 blieb. Danach kehrte sie nach England (London) zurück und blieb dort – bis auf eine vierjährige Europatournee nach Frankreich, Italien und Deutsch- land – ansässig. Biografie Am 27. Oktober 1765 wurde Nancy Storace in Marleybo- ne geboren und auf den Namen Ann Selina getauft. Be- reits mit acht Jahren hatte sie ihre ersten Auftritte als Sängerin. Sie erhielt Unterricht bei Antonio Sacchini und Venanzio Rauzzini und feierte 1776 ihr Operndebüt am King’s Theatre (London). 1778 begab sie sich zusammen mit ihren Eltern auf eine Reise nach Italien, wo eine Ver- vollkommnung ihrer Ausbildung geplant war. Bereits ab 1779 aber war Nancy Storace an diversen Opernhäusern in Italien engagiert, darunter Florenz, Lucca, Treviso, Li- vorno, Parma, Turin, Mailand und Venedig. 1783 kam Nancy Storace, Brustbild. Stich von Pietro Bettelini, 1788 sie als Hofsängerin nach Wien, wo sie u.a. Wolfgang Amadeus Mozart kennenlernte. Sie avancierte hier rasch Nancy Storace zu einer der bekanntesten und beliebtesten Sängerinnen Varianten: Nancy Sorace, Nancy Ann(a) Selina Storace, ihres Fachs. In Wien heiratete sie den Violinisten und Nancy Ann(a) Selina Sorace Komponisten John Abraham Fisher, die Ehe ging aber bald nach der Hochzeit in die Brüche: Man warf dem * 27. Oktober 1765 in Marylebone, England Ehemann die Misshandlung seiner Frau vor und Joseph † 24. August 1817 in Herne Hill (Dulwich), England II. verwieß ihn deshalb der Stadt. Im Sommer 1785 gebar Nancy Storace eine Tochter, die allerdings kurz nach der Sängerin Geburt starb. Bereits im September 1785 kehrte Nancy Storace auf die Bühne zurück, begeistert gefeiert mit der „Of her talents as an Actress and vocal Performer not- zu diesem Anlass von Mozart, Salieri u.a. komponierten hing need be said, as the public well knew and highly ad- Kantate „Per la ricuperata salute di Ophelia“ (Text: Lo- mired her in both Capacities […] none of her successors renzo da Ponte). 1786 trat sie als erste Susanna in Mo- have equalled her original humour and spirit. She was an zarts „Le nozze di Figaro“ auf. Am 23. Februar 1787 ver- excellent musician, and if her voice had been equal to her anstaltete sie eine Abschiedsakademie, für die Mozart ihr knowledge and taste, she would, perhaps, have been wi- die Arie „Non temer amato bene“ (KV 505) komponiert. thout a rival.“ (Nachruf aus „The Morning Chronicle“, Sie kehrte nach London zurück, wo sie zwischen 1787 26. August 1817, zit. nach Hodges 1989, S. 101.) und 1797 diverse Engagements am King’s Theatre und Profil anderen Londoner Bühnen hatte. Daneben trat sich auch bei Konzerten und Oratorien-Aufführungen auf. Nancy Storace ist vor allem als erste „Susanna“ in Mo- 1797-1801 unternahm sie eine Konzertreise mit dem Ten- zarts „Le nozze di Figaro“ im historischen Gedächtnis ge- or und Lebensgefährten John Braham (Frankreich, Itali- blieben. Darüber hinaus war sie in ihren Wiener Jahren en, Deutschland). Am 3. Mai 1802 brachte sie ihren die unumstrittene Prima buffa der dortigen Bühnen. Sohn William Spencer Harris Braham in London zur Nach ihrer Rückkehr nach London feierte sie vor allem Welt. Sie zog sich 1808 von der Bühne zurück und starb – 1 – Storace, Nancy am 24. (oder 23.) August 1817 in Herne Hill (Dulwich). später (1783) ebenfalls nach Wien engagiert wurde und dort zum engen Kreis um Storace gehörte. Auch die Be- Mehr zu Biografie kanntschaft zu John Soane geht auf die Jahre in Italien Anna Selina Storace wurde als Tochter des italienischen zurück. Kontrabassisten Stefano Sorace (das „t“ wurde erst spä- ter in den Namen eingefügt) und der Engländerin Eliza- Skandal beth Trusler in Marylebone geboren. Sie hatte einen drei In Italien sorgte Nancy Storace durch ihre Stimme und Jahre älteren Bruder, Stephen, der wie Nancy eine frühe ihr komisches Talent – nicht zuletzt auch durch ihre Ju- musikalische Begabung zeigte. Beide Kinder wurden best- gend – für Furore. Ihren Durchbruch erlebte sie, als sie möglich gefördert – Stephen im Hinblick auf eine Lauf- es wagte, den berühmten Kastraten Luigi Marchesi auf of- bahn als Komponist und Kapellmeister, Nancy als Sänge- fener Bühne zu brüskieren. Michael Kelly erzählt diese rin. Dieser früh erkennbare Ausbildungsunterschied Episode in seinen Memoiren: „Sie […] ging nach Florenz, scheint nicht allein auf der Basis der Begabung der Kin- wo der gefeierte Kastrat Marchesi am Teatro allo Pergola der gefällt worden zu sein. Denn zum einen wird Stephen engagiert war. Er stand just auf dem Höhepunkt seiner später auch als Sänger erwähnt (hatte offenbar also eben- Karriere und verzauberte nicht nur die Florentiner, son- falls gute stimmliche Voraussetzungen), zum anderen dern die ganze Toskana. Storace war neben ihm als se- scheint für diese frühe Entwicklungsförderung ein ge- conda donna engagiert; und den auf dem ganzen Konti- schlechtsspezifischer Hintergrund relevant gewesen zu nent bestens bekannten Umständen, die ich nun erzäh- sein: auch bei den Geschwistern Mozart ist eine derarti- len werde, verdankte sie die blitzartige Entwicklung ih- ge Ausbildungslenkung erkennbar: Maria Anna („Nan- rer Karriere. Bianchi hatte die berühmte Cavatina „Sem- nerl“) Mozart als Pianistin, Wolfgang Amadeus Mozart bianza amabile del mio bel sole“ komponiert, die Marche- als Komponist bzw. Kapellmeister (vgl. dazu Rieger si mit hinreißendem Charme sang; an einer Stelle setzte 1990, S. 69 et passim). er eine Voletta über eine Oktave [voletta of semitone octa- ves], wobei er die letzte Note mit solch exquisiter Kraft Erste Erfolge und Stärke hielt, dass dieses Kunststück sofort als „bom- 1773 trat Nancy Storace erstmals bei Konzerten, zusam- ba del Marchesi“ bekannt wurde. Gleich nach dieser Ca- men mit ihrem Vater und ihrem Bruder Stephen in Sout- vatina hatte die Storace zu singen. Sie musste dem Publi- hampton und Salisbury auf. Als singendes Wunderkind kum nun zeigen, dass auch sie eine solche „bomba“ hin- fand sie dabei viel Beifall: „Wir dürfen nicht versäumen, ausschleudern könne. Sie versuchte, es gelang – zur Be- den Verdiensten der Miss Storace Gerechtigkeit widerfah- wunderung und zum Erstaunen des Publikums, aber ren zu lassen: Sie sang einige Lieder mit großer Empfin- zum großen Entsetzen des armen Marchesi. Sofort griff dung und Verständigkeit und ließ dabei außerordentli- Marchesis Manager Campigli ein und verbot ihr, weiter- che Zeichen eines frühen musikalischen Genius erken- hin die „bomba“ zu singen. Sie aber weigerte sich mit nen“, vermerkt das „Salisbury Journal“ zu diesem Anlass dem Argument, dass sie ebenso ein Recht hätte, die Kraft (zit. nach Jenkins 1998, S. 97, Übers.: M.U.). Nancy Stor- ihrer „bomba“ zu zeigen wie jeder andere auch. Der St- ace erhielt eine profunde Gesangsausbildung bei Antonio reit wurde mit der Erklärung Marchesis beendet, dass er Sacchini und bei dem bekannten Kastraten und Kompo- oder sie die Bühne zu verlassen habe. Die Theaterleitung nisten Venanzio Rauzzini (1746-1810). Beim Londoner war nun gezwungen, sie zu entlassen und eine andere Bühnenabschied Rauzzinis (1777) trat seine Schülerin in Sängerin zu engagieren, eine Sängerin mit geringeren dessen Kantate „La partenza“ auf. Kurz zuvor, am 29. De- Ambitionen zur „bomba del Marchesi“.“ (Kelly 1826, S. zember 1776 war sie als Cupido in Rauzzinis Oper „L’ali 97f., Übers.: M.U.) d’amore“ auf der Bühne des King’s Theatres zu hören ge- Auch wenn Nancy Storace nach diesem Vorfall die Büh- wesen. ne des Teatro allo Pergola verlassen musste – ihr Ruf ver- 1778 brach die Familie nach Italien auf, wo Stephen in- breitete sich nun um so schneller in ganz Italien. Und no- zwischen seine Studien am Conservatorio di Sant’ Onof- ch bevor sie mit 18 Jahren Primadonna der italienischen rio in Neapel, der Heimatstadt seines Vaters, fortgesetzt Oper in Wien wurde, feiert sie außerordentliche Erfolge hatte. Für Nancy Storace, gerade 13 Jahre alt, begann in an italienischen Opernhäusern, unter anderem in Lucca, Italien ihre Bühnenlaufbahn. In Italien lernten die Ge- Livorno, Mailand, Parma und Venedig. Von dort aus wur- schwister Storace u.a. auch Michael Kelly kennen, der de sie, u.a. zusammen mit Michael Kelly und Francesco – 2 – Storace, Nancy Benucci, im Frühjahr 1783 nach Wien engagiert. Ehe scheint nach kürzester Zeit zerrüttet gewesen zu sein. Dem Ehemann wurde die Misshandlung seiner Wien Frau vorgeworfen, ein Vorwurf, der Joseph II. dazu ver- Am 22. April 1783 trat Nancy Storace erstmals vor das anlasste, Fisher aus Wien zu verweisen. Wiener Publikum. Auf dem Programm stand Antonio Sa- Nancy Storace blieb in Wien und gebar im Januar 1785 lieris „La scuola degli gelosi“. Das Wiener Publikum war eine Tochter, die jedoch nur wenige Monate nach der Ge- von der neuen Sängerin begeistert; Graf Zinzendorf no- burt, am 17. Juli verstarb. Weitere Schwangerschaften tierte am 22. April 1783 darüber: „Eine hübsche Figur, sind aus dieser Zeit nicht nachweisbar, auch wenn Jose- rundlich, schöne Augen, weißer Nacken, frischer Mund, ph II. über Nancy Storace schrieb: „Die Storace hat den schöne Haut, mit der Naivität und dem Ungestüm eines Vorteil, daß sie so ziemlich das ganze Jahr hindurch die Kindes, singt wie ein Engel…“ (zit. nach Payer von Thurn Taille einer schwangeren Frau hat…“ (zit. nach Payer von 1920, S. 36). Auch der ungarische Dichter Ferencz Ka- Thurn 1920, S. 57). zinczy meinte: „Storazzi, die schöne Sängerin, verzaubert Auge, Ohr und Seele“ (zit. nach Geiringer 1979, S. 19 Begegnung mit Wolfgang Amadeus Mozart bzw. 25). Zum Wiener Kreis von Nancy Storace gehörte auch Wolf- Nancy Storace avancierte rasch zum Publikumsliebling gang Amadeus Mozart. Er komponierte für sie die Rolle in Wien, wozu neben ihrer eindrucksvollen Stimme auch der Susanna in „Le nozze di Figaro“, eine Rolle, mit der ihr jugendliches Alter und ihr ungezwungenes Auftreten sie in die Musikgeschichte eingegangen ist.
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