Henry Matthews, The Diary of an Invalid
Matthews describes the improvisatrice’s strong effect on the audience, emphasizing her skill with rhymes and gestures.
Tag: Rome
J. Adrien-Lafasge, “Poème épique improvisé par M. Louis Cicconi”
The author compares Cicconi’s talents with those of various other improvisatori, including Gianni, Sgricci, and Perfetti, noting however that it is Cicconi who first made the successful attempt to improvise an epic poem. The article continues with a description of Cicconi’s performance (on the subject of the destruction of Carthage), and a discussion of the merits and failings of improvisation more generally.
J. J. Volkmann, Historisch-kritische Nachrichten von Italien
In his travel notes, Volkmann describes Italian improvisation as a light diversion typical of that nation. He mentions several famous improvisatori, and notes that improvisation is not a new art form, but has existed for centuries.
Joh. Bernoulli, Zusätze zu den neuesten Reisebeschreibungen von Italien nach der in Herrn D. J. J. Volkmanns historisch kritischen Nachrichten angenommenen Ordnung
In a series of annotations, Bernoulli provides brief descriptions of some currently and recently living improvisatori.
Johann Wilhelm von Archenholtz, England und Italien
Archenholtz writes disparagingly of Corilla’s coronation as an abasement of poetry in general; Corilla’s talent cannot be compared with that of the superior German poet Anna Louisa Karsch. Archenholtz describes an impressive open-air by an unnamed Venetian improviser, one of many he witnessed while in Italy, but in general he considers Italian poetic improvisation far inferior to the spontaneous rhetorical skill displayed by English gentlemen.
John Moore, Travels in Italy
Moore reflects on the Italian improvisatori, suggesting that the primary benefit of their art (especially of those improvisatori who perform on the street) is to educate the general populace about history. He counters this sentiment, however, with a short second-hand description of a performance by Corilla Olimpica, who was by all accounts spellbinding and artful in the highest sense.
Karl Ludwig Fernow, “Die Improvisatoren” (Part 2)
Fernow provides a detailed history of Italian improvisation, recounting that improvisation (in Latin) experienced a peak in popularity in the court of Pope Leo X, a lover of the art, and that in the course of the eighteenth century a renewal of popularity has brought improvisation to new heights, this time in Italian. The author gives biographies of the most famous improvisatori that he mentions.
Karl Philipp Moritz, “Improvisatoren”
Moritz describes the general character of Italian improvisatori according to his own experience of watching an unnamed Venetian improvisatore perform on several occasions in a public square. Moritz’s description emphasizes the enthusiasm of the improvisatore for his art, his lack of concern for money and material things, and his hunger for applause.
Louis Simond, A Tour in Italy and Sicily
Simond begins with an anecdote of Sgricci’s improvisation of the Death of Socrates. He also describes in detail Sgricci’s performance of the tragedy of Sophonisba and the audience’s favourable reception. He mentions that improvisation is like any other habit.
Louis Simond, Voyage en Italie et en Sicile
Simond begins with an anecdote of Sgricci’s improvisation of the Death of Socrates. He also describes in detail Sgricci’s performance of the tragedy of Sophonisba and the audience’s favourable reception. He mentions that improvisation is like any other habit.
Sydney Owenson [Lady Morgan], Italy (“Historic Sketch”)
Lady Morgan describes the Signora Dionigi of Rome, a learned lady whose daughter is an accomplished improvisatrice.
Vincenzo Monti, Epistolario (Letter of 16 November 1782 to Fortunata Fantastici)
In a letter to Fantastici, Monti alludes to his enjoyment of her successful performance in Rome.
Wilhelm Waiblinger, “Charakterskizze der heutigen Römer”
Waiblinger mentions an 1827 performance by the improvisatrice Rosa Taddei, and then moves on to describe how the lower classes improvise on the streets in Rome, often at night.
Wilhelm Waiblinger, “Rosa Taddei, unter den Arkadiern Licori Partenopea”
In an article specifically focused on Taddei, Waiblinger discusses the poetical talents and education of Italian improvisatori, and names the former among the most skilled improvisatori of her time. Waiblinger provides written records of a number of Taddei’s improvised poems to illustrate the different poetic forms the improvisatrice commands, and to show how she incorporates the mandatory rhymes she is given by the audience.
Wilhelm Waiblinger, Dichtungen aus Italien
Three short poems on Taddei, Sgricci, and relatively unknown Italian improvisatori of the lower classes are accompanied by Waiblinger’s detailed notes describing some of the performances he witnessed and references in the poems.
Wilhelm Waiblinger, Reisebilder aus Italien
The first excerpt is a section from a letter Waiblinger wrote to a friend: Waiblinger admires Rosa Taddei’s ability to improvise good poetry without being distracted by her unruly and common audience, which threatens to debase her talents. The second excerpt is Waiblinger’s reproduction of an improvised poem in Latin, by an unnamed improvisatore.