“Bacchus in Thebe. Ein dithyrambischer Stegreifgesang.”
A poem translated from an Italian improvisation by the improvisatrice Fantastici, on the subject of Bacchus in Thebes at a celebration of Laius’s kingship.
Tag: Fantastici
“Ignotus,” “I poeti estemporanei” (Fanfulla della Domenica)
The anonymous critic gives a brief history of some of the best known improvisers in Italy, both men and women. He also describes some of the tricks they used to make their work appear more improvised than it was.
“Teresa Bandettini, the Improvisatrice” (Bentley’s Miscellany)
The author gives a romanticized biography of La Bandettini’s education and travels, and describes how one of her performances saved her country from peril.
Anna Jameson, Diary of an Ennuyée
Jameson recounts her experience watching the improvisatore Sestini perform in Rome, describing the various subjects and forms he used, as well as the success and failure of each of Sestini’s efforts. She reflects upon Sestini’s rather plain appearance, and opines that his career will likely be short in duration, even if his skill is remarkable.
Germaine de Staël, Correspondance Générale (Letter to Don Pedro de Souza, 15 May 1805)
In a letter to Don Pedro de Souza, Madame de Staël writes that she had the opportunity to see the improvisatrice La Fantastici, and then moves into a description of Mme Mazzei’s talent for improvisation.
Hester Lynch Piozzi, Observations and Reflections Made in the Course of a Journey through France, Italy, and Germany
Piozzi describes her experience of poetic improvisation in Italy. While visiting Ferrara, she recalls the performance of the improvisatore Talassi in London in 1770, which brings about reflections on the practice of poetic improvisation in general. In Florence, she notes the fading voice of the aging Corilla, whose character however remains as sharp and humorous as ever, and emphasizes the charm of the younger and more beautiful Fantastici. Piozzi also praises the talents of the Abate Lorenzi and the Abate Bertola and comments on written and oral improvisation of Latin verses.
J. C. L. Simonde de Sismondi, De la littérature du Midi de l’Europe
Sismondi provides a description of the art of improvisation as part of a more general exposition of Italian literature. He describes the type of talent required for improvisation, the typical subjects and form of the art, and then names some of Italy’s most accomplished improvisatori.
J. C. L. Simonde de Sismondi, Historical View of the Literature of the South of Europe
A series of extracts from Sismondi’s widely read work on the literature of the south of Europe. The extracts from volume one describe the origins of improvisation in the commedia dell’ arte and the dramas of Goldoni. The longer excerpt from the second volume describes contemporary improvisation in Italy, outlining its relation to literature and poetry, and providing an overview of some of the famous Italian improvisatori.
Joseph Forsyth, Remarks on Antiquities, Arts, and Letters
Forsyth remarks on Fantastici’s impressive improvisatory techniques, but mentions that her published poetry is dull, suggesting that powerful poetic improvisation does not translate to poetic skill. Forsyth also compares the style of Italian improvisatori to Homer’s poetic style.
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.
M. Valery [Antoine Claude Pasquin], Historical, Literary, and Artistical Travels in Italy, A Complete and Methodical Guide for Travellers and Artists
The author recounts the decline of improvisation in Florence, and alludes to the former fame of improvisatori such as Sgricci, and before him Fra Filippo, who was one of the great improvisatori of the sixteenth century. The second excerpt is a brief mention of Fantastici, who in addition to improvising, also devoted herself to translation.
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.