- Performer Name:
- Taddei
- Performance Venue:
- Rome; Turin
- Performance Date:
- Author:
- [Francesco Moscati] F. M. M.
- Date Written:
- Language:
- English
- Publication Title:
- La Belle Assemblée: or, Bell’s Court and Fashionable Magazine
- Article Title:
- The Living Italian Corinna
- Page Numbers:
- 15:71-73
- Additional Info:
- Publisher:
- Edward Bull
- Place of Publication:
- London
- Date Published:
- 1832
Text:
[71] Who that has read Madame de Staël’s works, does not feel interested by the name of the living Corinna? Who, that has travelled through Italy within the last fifteen years, has not heard of, or known the Improvisatrice Rosina Taddei? However, as all have not visited Italy, I think that a short account of this extraordinary genius cannot but be acceptable, especially to our fair readers.
Francesco Taddei, the father of Rosina, was, in his youth, destined for the bar; but when, in the year 1795, the infamous Caroline of Austria, Queen of Naples, with the aid of her favourite Acton, established the well-known Politico-Inquisitorial junta, for the extermination of all those who would not blindly submit to the despotism of their rulers, he suffered severe persecutions, and to avoid greater misfortune, voluntarily exiled himself from his native country, and retired into Tuscany. Here he applied his efforts to the attainment of the same profession, but his pecuniary resources failing, he could not perfect his studies, and in consequence engaged himself with a theatrical company. Possessing a person and cast of countenance allied to the comic, and endowed with a considerable portion of natural wit, his success as a comic actor was very remarkable, and he in time became the manager of an Italian strolling theatrical company. In this station he still remains.
Rosina was from her infancy intended for the stage, and has acted both in tragedy and comedy. At the age of twelve years she began to give unequivocal proofs of an innate poetical talent, by frequently singing to her parents and friends extemporaneous poetry on domestic events. At this period Francesco granted her permission to read Metastasio and Tasso. This increased her passion for poetry, and she became the most ardent admirer of the Italian Improvisatori. Knowing that a perfect knowledge of history and mythology was indispensable for the poet, she applied herself with the utmost eagerness and perseverance to these studies, and in a short time acquired a great proficiency. At the age of fourteen her father began to introduce her into the society of the different towns of which his company was performing, and before the age of sixteen Rosina was well known as an improvisatrice in several capitals of Upper and Middle Italy. The friends of Francesco now advised him to carry his daughter into the city of the Seven Hills, there to give a fair trial to her genius.
Rome at that epoch, after so long a war, was visited by numerous foreigners and travellers, who poured into that city from every quarter of the globe, to admire the ancient and modern monuments, and to witness the folly and inconsistency of the Roman bacchanalia. These circumstances offered a fine opportunity for bringing to the test the promising genius of the youthful improvisatrice, who accordingly arrived at Rome, accompanied by her parents, about the middle of January, 1817.
Taddei was a countryman of mine, and had been recommended to me by the Marquis Parenti, president of the Labronian Academy at Leghorn. The first conversation I had with Rosina was sufficient to enable me to form my judgment of her abilities, and I easily perceived that she possessed all the qualities of a true improvisatrice; she spoke on all subjects with facility and eloquence, and her expressions and ideas bore the imprint of poetry: I therefore did all in my power to forward her projects, and to encourage her hopes.
Prince Kounitz was then ambassador of the Emperor of Austria to the court of Pius VII. Being honoured by his intimate acquaintance, and knowing that he was a great patron of arts, sciences, and literature, I took the opportunity of speaking to him in favour of my interesting protégée. The prince generously offered to give a diplomatic evening party, for the purpose of her introduction, and assured me that he would himself present to the assembly the young improvisatrice. The principal members of the Arcadia, and of the Accademia Tiberina, were also to be invited to this poetical rout.
[72] When I informed Rosina of the prince’s intention, she became pale as death, and being naturally timid and diffident, was almost fainting at the idea of presenting herself before such a conspicuous meeting; but in conjunction with her parents, I raised her failing spirits, and on the appointed evening accompanied her to the Palace Braschi, which is a standing proof against pontifical spoliation and aggrandizement, and was then the residence of Prince Kounitz. The company was numerous and brilliant. Cardinals, Monsignori of all kinds, princes, ambassadors, princesses, and the flower of all the nobility and literati had collected in the magnificent drawing-rooms.
The prince having introduced Rosina, several subjects, as it is the custom, were written on slips of paper by many of the guests, and thrown in an urn. The young and beautiful Princess Kounitz drew the first, which was — The meeting of Petrarch and Laura in the Elysian fields.
Rosina advanced slowly and tremblingly towards the musician, who was to accompany her. She wore no ornaments on her person; her features, although not handsome, were regular and pleasing, and, from her extreme youth, highly interesting. Her dress consisted of a single white robe, her hair arranged in the Grecian style. Her large black eyes inspired sympathy and attention, and contrasted beautifully with the paleness of her face. After having remained for a few minutes, with her eyes fixed on the ground, as if in a deep meditation, she commenced in a sweet voice, addressing an invocation to Laura, that as she had rendered Petrarch immortal, so she now would render her extemporaneous poetry acceptable to the auditors. She then rapidly descended into the Elysian fields, where, after having described the happiness and enjoyments of several of the fortunate inhabitants of those regions, she introduced the amorous Petrarch and his adored Laura. She painted the poet, restored to his youthful bloom, dressed in a white garment, and bearing on his head a laurel crown. He walked between Socrates and Ovid, and discovering Laura at a certain distance, had left his companions to go to his mistress. It would be impossible to express in prose the beauty of the poetical effusions with which Rosina described this interview. They were truly surprising for pathos, delicacy, and nature; and when she ended her song, she was enthusiastically applauded by all the company.
The next subject drawn was — The Death of Narcissus, then Hannibal at the foot of the Alps, and lastly, Achilles swearing to revenge the death of his friend Patroclus. All of these were treated by Rosina with great success, and at the end she was again unanimously eulogized. Such was the admiration excited by her genius, that Prince Ghigi, and the Cavalier Odescalchi, desired her to honour with her presence an extraordinary meeting of the Accademia Tiberina, expressing their intention to elect her among the members of that learned society.
Overjoyed at so triumphant a debût, I accompanied Rosina to her parents, and promised to be with her at the Accademia Tiberina. This took place three days afterwards, and her success was equal, if not greater than before; she was immediately admitted a member of the Tiberini, and engaged to attend the first meeting of the Arcadians, who were also anxious to choose for her one of the pastorelle of that colony. Being appointed as one of the Assessors of the Arcadia to grant her a pastoral name, according to the rules of that institution, I called her Licoris Parthenopoea, and by this appellation she is now known to the Italian literati.
Rosina metamorphosed into Licoris, obtained the greatest success she could wish for; her poetical genius had been tried and approved of, and she wanted nothing but exercise and study to render her name one of the most celebrated among the modern improvisatori. To this point of excellence she has fully attained, and during the last fifteen years she has been the main support of her family, has refused several advantageous matrimonial alliances, and has become a member of almost all the literary societies of her country.
Her extemporaneous poems have been published in several volumes at Rome, Florence, Leghorn, Parma, Milan, and Turin, and the connoisseur in reading them, may easily perceive that Licoris [73] has sung in Italy, for although her effusions are imprinted with natural colours, and adorned with beautiful descriptions, whenever freedom and independence are at stake, the poetess is almost always favourable to the despotism and absolutism of the Italian petty kings.
About twelve months ago, having read an extemporaneous poem, delivered by Licoris a few months before at the court of Turin, in which she spoke very bitterly against the late French revolution, I wrote to her an expostulatory letter on her conduct, and received the following answer: — “I am scarcely permitted to sing even against freedom and independence. What would be my fate were I to advocate the cause of humanity, and unmask our despots and tyrants?” From this the English reader may form an idea of the present condition of unhappy Italy!
I must not forget to mention that Rosina is well acquainted with the Greek, Latin, French, and English languages, and that, besides her extemporaneous songs, she writes good poetry, and literary essays for several Italian periodicals.
F. M. M.
Notes:
- Collected by:
- EW