“Arrivo a Milano dell’Improvvisatore Cicconi”
On the occasion of his arrival in Milan, Cicconi’s highly debated tragedy, “Parisina,” is remembered.
Tag: Milan
“Die heutigen Improvisatoren in Italien” (Illyrisches Blatt)
Drawing on Wilhelm von Müller’s Rom, Römer und Römerinnen, the article describes Sgricci and Taddei, the most famous Italian improvisatori of the day. The author is of the opinion that improvisation, although impressive and captivating, represents a regression (rather than progress) in the art of poetry.
“Modern Italian Improvisatori” (London Magazine)
An article, translated from the German Morgenblatt, describing improvisation in Italy, with specific accounts of performances by Sgricci and Taddei in Rome, based on the travel writings of Wilhelm Müller. The author of the article appreciates the talents of both improvisatori, but does not view improvisation as an advancement of art and poetry more generally.
[C.L.P.], “Poesia estemporanea”
The author comments on a performance in which Sgricci improvised on various topics in various genres: the death of Samson, Cefalo and Procri, and Alzira. Sgricci is praised for his ability to arouse the strongest and deepest emotions of terror, pity, and wonder. The rapidity of his performance makes it difficult to remember his verse, yet it stirs the heart.
[T.C.], “Teatro de’ Filodrammatici. Versi estemporanei del sig. Tommaso Sgricci”
The author reports that after a first successful — but controversial — performance in Milan at the Teatro de' Filodrammatici, Sgricci improvised a second time and gained great acclaim for the tragedy “La morte di Cleopatra.” His improvised verse is praised for its rhetoric and the purity of the language, qualities that the author claims were unknown to previous extempore poets.
Alessandro Luzio, “Amarilli Etrusca”
Luzio summarizes the correspondence between Teresa Bandettini (Amarilli Etrusca) and the Abbot Saverio Bettinelli. Bandettini’s letters describe her poetry and performances in glowing terms, but the critic finds her work mediocre. While Luzio admires the fact that she continued to perform her poetry to support her family financially, her verses remain boring and tiresome.
John Cam Hobhouse, The Diary of John Cam Hobhouse
In his journal, Hobhouse recounts witnessing a performance by Sgricci in Milan, together with Lord Byron and Ludovico di Breme. The three men had little appreciation for Sgricci’s performance, suggesting that he was more of a ridiculous clown than a poet.
John William Polidori, The Diary of Dr. John William Polidori, 1816, Relating to Byron, Shelley, etc.
Polidori recounts an improvised performance by Sgricci in Milan, which he found rather unimpressive. W. M. Rossetti, as editor of the diary, notes that P. B. Shelley was an admirer of Sgricci’s art.
Lord Broughton [John Cam Hobhouse], Italy: Remarks Made in Several Visits from the Year 1816 to 1854
John Cam Hobhouse (Lord Broughton) discusses in detail several improvised performances by Sgricci, which failed to greatly impress him. Hobhouse suggests that improvisation is a lower and more trifling art than those it emulates: poetry and tragic theatre.
Lord Byron, “Letter to Augusta Leigh, 26 October 1816”
Byron writes of hearing Sgricci improvise in Milan.
Lord Byron, “Letter to Thomas Moore, 6 November 1816”
Byron writes of Sgricci’s controversial performance in Milan.
Ludovico di Breme, Lettere
In a letter to Madame de Staël, di Breme mockingly describes an unsuccessful improvised performance in Milan, put on at the Theatre de la Scala at the request of, and highly promoted by, Monti, whom di Breme describes as an idiot.