Leonora

• “It may be well to mention that the speeches in the play given to Leonora d'Este, with whom Tasso is in love, are headed _The Princess_; and it is her friend Leonora Sanvitale, Countess of Scandiano, who speaks under the name of _Leonora_.”

  Blackwood's Edinburgh Magazine, Vol 58, No. 357, July 1845

• “[8] Leonora is in parts equal to any composition I have ever read.”

  Letter 174

• “_comica_ -- that "chorus girl" -- as doña Bernarda called Leonora in a furious burst of scorn.”

  The Torrent Entre Naranjos

• “After all, in 1840 the director of the Paris Opéra dismissed an offer by the American composer William Henry Fry to pay all the costs of mounting his opera "Leonora" there, declaring: "In Europe, we look to America as an industrial country -- excellent for railroads but not for art.”

  The Wall Street Journal: Soundtrack to the Celebration of Lincoln's Bicentennial Year

• “Leonora," for their first concert, and will do much for classical music by their four concerts.”

  The Atlantic Monthly, Volume 01, No. 01, November, 1857 A Magazine of Literature, Art, and Politics

• “Leonora," said Miss Lavish; her own name was Eleanor.”

  A Room with a View

• “As he went out he said to the priest: "She will be 'Leonora' for reasons that please her father, and which you wouldn't understand even if I were to explain them to you.”

  The Torrent Entre Naranjos

• “Permit me to recommend particularly to you Professor Jahn [The afterwards celebrated biographer of Mozart], with whose many interesting works of criticism and musical literature you are doubtless familiar (among others his Introduction to the original score of Beethoven's "Leonora," published by Hartel in Leipzig).”

  Letters

• “I refer to the third "Leonora" overture, and to the music in the prison scene, where the digging of the grave is depicted in the orchestra with a realism worthy of Wagner, and where the music when”

  Chopin and Other Musical Essays

• “Leonora," the only grand opera by a professional critic ever performed in New York, so far as I know, was brought forward at the Academy of Music a good nine years later.”

  Chapters of Opera Being historical and critical observations and records concerning the lyric drama in New York from its earliest days down to the present time

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