Nadezhda Afanasievna Barbieri

!!!!!Not to be confused with Nadezhda Lyubimova Engalycheva:

Nadezhda Lyubimovna Princess Engalycheva

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Nadezhda Engalycheva was a Russian operatic contralto, mezzo-soprano and sometimes soprano, who had a successful international career. She was active from 1870 to 1900, and performed often in Russia, Italy and France. Outside Russia she used the stage name Elvira Angeli. She married Italian baritone Emilio Barbieri. She died in Milan in 1924. Her son Amleto Barbieri became also a famous operatic baritone.

Tchaikovsky's critics on Nadezhda Engalycheva's recital in Moscow:

• The Start of the Concert Season (Начало концертного сезона) (TH 277 ; ČW 540) was Tchaikovsky's fourteenth music-review article for the Moscow journal Russian Register (Русские ведомости), in which it was published on 10 March 1873. Excerpts concerning Nadezhda Engakycheva/Elvira Angeli, written by Tchaikovsky:
• "A Grand Concert Soirée of Vocal and Instrumental Music" which took place on 26 February/10 March 1873 at the Moscow Bolshoi Theatre and featured the tenor Emilio Clodovaldo Naudin, the violinist Vasily Bezekirsky, the singer Nadezhda Engalycheva, and Nikolay Rubinstein, who played Balakirev's transcription of Glinka's Jota aragonesa;
• At this very same concert we also heard the highly attractive and talented Madame Engalycheva, who is endowed with an uncommonly beautiful voice but who, alas!, has still done little to perfect it further, as well as N. G. Rubinstein, who gave us a brilliant rendition of Glinka's Jota aragonesa in Balakirev's splendid transcription.
• Of the various soloists that evening, the following were received with particular enthusiasm by the rather small audience: Messrs Laub and Rubinstein, and Madame Engalycheva.
• Princess Nadezhda Engalycheva (stage name: Elvira Angeli), Russian opera and lieder singer.
• http://en.tchaikovsky-research.net/pages/The_Start_of_the_Concert_S...

Tchaikovsky's critic on Engalycheva as orphan Vanya in Glinka's 'A Life for the Tsar' in St. Petersburg on 24 September 1872:

• Somehow squeezed in between these two first events in the Italian Opera Company's calendar for this season, we were also treated to Mr Demidov's benefit performance, for which he chose A Life for the Tsar, with a new singer in the role of Vanya: Mme Yengalycheva . Having transformed herself from Elvira Angeli into a mere Russian woman, Mme Engalycheva did not seem to have benefited much by this metamorphosis. She retained her phenomenally beautiful voice, but at the same time everything else which has so far been preventing this young singer from becoming a serious artist. We saw the same extravagant flaunting of her chest notes, the same lack of prudence in the way she puts her vocal means to use, the same childishly careless acting. In Act III Mme Engalycheva fired off at once all her ammunition and left the audience flabbergasted with the beauty of her voice, but in the Epilogue she was simply below all criticism: her voice refused to obey her any more, and the way she performed the orphan Vanya's song: "Akh, ne mne bednomu" [It wasn't, alas, to me that…] was pure caricature.
• All being said, there were quite a few amusing things in this first such event at the Slavyansky Bazaar. Highly amusing, for example, was the miniature orchestra which accompanied Mr Dodonov as he sang an aria from Moniuszko's Halka and which came up with such curious combinations of chords which the poor composer, of course, could never have dreamt of. Amusing, too, was the unknown young man who conducted the miniature orchestra, waving his hands randomly up and down, with an earnestness that was very funny to watch, and made all the more impressive by the dazzlingly white gloves he was wearing. No less amusing was Mme Engalycheva, who swept briskly into the concert-hall as if she were looking for somebody and then equally briskly sang that awfully hackneyed song: "Prosti na vechnuiu razluku" [Farewell as we separate forever], whereby she also mangled her text, as in the following verse: "Byt' mozhet byt' vinovna ia!" [Maybe I maybe [sic] am the one to blame!]
• Princess Nadezhda Yengalycheva, Russian contralto who used the stage-name of Elvira Angeli in performances of Italian and French operas.
• http://en.tchaikovsky-research.net/pages/The_Italian_Opera:_"L%27Africaine"._"Il_Trovatore"._Mr_Demidov%27s_Benefit._Entertainments_at_the_"Slavyansky_Bazaar"._Musical_Chronicler_of_"The_Citizen"

Tchaikovsky's critic on Engalycheva as Jemmy in Rossini's William Tell in Saint Petersburg:

• Amongst the other performers, I should like to single out Madame Engalycheva, who sang the small part of Jemmy very well; Madame Annenskaya, who with her great musicality contributed a lot to the overall success of the production; and M. Vidal, a singer who is still little appreciated here, but who is certainly not run-of-the-mill. As I have mentioned Madame Engalycheva, I cannot refrain myself from wholeheartedly exhorting her to pay serious attention to her musical development. For what a marvellous voice she has, what remarkable physical attributes for the stage, and yet how little has come of it all so far!
• Princess Nadezhda Yengalycheva, Russian soprano, who performed mainly in Italy and France under the stage name of Elvira Angeli — note by Ernst Kuhn.
• http://en.tchaikovsky-research.net/pages/Two_Quartet_Matinées_and_the_Seventh_Symphony_Concert_of_the_Musical_Society._The_Italian_Opera._A_Musical-Bibliographical_Curiosity

!!!!! Не путать с Надеждой Любимовой Енгалычевой:

Nadezhda Lyubimovna Princess Engalycheva

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https://biographiya.com/engalycheva-nadezhda-afanasevna/

Биография Енгалычева Надежда Афанасьевна

(Энгалычева; сцен. псевд. Эльвира Анджели или Энгалли) — арт. оперы (контральто) и камерная певица.
Окончила петерб.
Смольный ин-т. Пению обучалась в Петерб. конс. (кл. Г. Ниссен-Саломан и П. Репетто), затем совершенствовалась в Милане у Д. Кореи. До 1870 под псевд. Эльвиры Анджели выступала в Италии и Франции.
Вернувшись в Россию, пела на сценах и конц. эстрадах Москвы и Петербурга (в 1873 в спектаклях Итал. оперы). Через нек-рое время вновь уехала в Париж, где совершенствовалась в вокальном искусстве у Лерца и Кэна. В 1877 выступала в городах Франции: Париже (т-ры «Лирическая опера», «Опера комик», «Гранд-Опера»), Бордо, Лилле, Аррасе, Нанте, Ницце, в 1878, 1880 и 1881 — в Петербурге и Москве (Большой т-р, 1881, дебютировала в партии Вани — «Жизнь за царя» М. Глинки).
Обладала голосом необычайной красоты и силы, широкого диапазона и ровным во всех регистрах.
Однако не отличалась сцен. талантом.
П. Чайковский, отдавая должное вокальным данным и сцен. внешности певицы, отмечал, что у нее отсутствует школа создания сцен. образов и что к этому привела ее тяга к итал. репертуару.
Партии: Ваня («Жизнь за царя» М. Глинки), Маргарита («Фауст»), Амнерис, Паж Урбан, Зибель.
Партнеры: Б. Корсов, В. Массини.
Лит.: [%D0%9D%D0%B0%D0%B1%D0%BB%D1%8E%D0%B4%D0%B0%D1%82%D0%B5%D0%BB%D1%8C]. Возрождение русской оперы в Москве — Нувеллист. 1878. № 7. С. 3; Н. А. Енгалычева, примадонна Императорской московской оперы — Всемирная иллюстрация. 1881. Т. XXVI. № 672. С. 427; Чайковский П. И.* Музыкально-критические статьи. — М., 1953. С. 36, 63, 64, 119; Гозенпуд А. А. Русский оперный театр XIX века. 1873-1889. — Л., 1973. С. 170-171; Дмитриев Ю. Михаил Лентовский. — М., 1978. С. 126-127.

https://it.wikipedia.org/wiki/Emilio_Barbieri

Женат на русской сопрано Надежде Енгалычевой, известной во Франции и в Италии под именем Эльвира Анджели, является отцом другого известного баритона, Амлето Барбьери.