“A French Improvisateur”
The French improviser Pradel is reported to have challenged the Italians in the art of improvising drama.
Tag: Paris
“Briefauszug. Herr Eugène de Pradel”
This excerpt from a letter disparages improvisation as an art, instead likening it to a bureau such as Eugène de Pradel is reported to have established in Paris, where cash is exchanged for all manner of poetic products. The correspondent regards improvisation, especially the improvisation of tragedies in the style of Sgricci and Pradel, as a skill that resembles the combinatorics of medieval philosopher Raimundus Lullus.
“Continental Chit-Chat” (The Court Magazine – Literary Notices)
A performance by Pradel is mentioned, with the note that the author wishes that the improvisatore would attempt to improvise comedy rather than just tragedy.
“Feste in St. Cloud und Paris”
In a description of a large festival held in Paris in 1810, the author notes that one of the festival’s rudest attractions, mainly pleasing to children, was an improviser remarkable for his grotesque facial expressions.
“Foreign Correspondence – Paris” (The Literary Magnet)
A news article mentions upcoming performances of improvised tragedy by Sgricci and Pradel in Paris.
“French Literature of the Day” (Blackwood’s Edinburgh Magazine)
A report on contemporary French literature mentions several poets who improvise, as well as a performance by Eugene de Pradel, who is reported to infect his audience with his nervous delivery.
“Herrn Sgricci’s Erscheinung in Paris”
A detailed two-part report on a performance given by Sgricci in Paris: an improvised tragedy on the subject of Bianca Capello. The author praises Sgricci’s talents very highly.
“Improvisation of the Tragedy of Bianco Capello, at Paris”
A detailed report of a performance given by Sgricci in Paris: an improvised tragedy on the subject of Bianca Capello. The author of the article, which originally appeared in French in Le Courier de Londres and is here published in English translation, praises Sgricci’s talents very highly.
“Korrespondenz – Nachrichten. Paris, 20.Dez. 1823”
A news article describing a celebration in Paris in 1823 notes that improvised poetry is a fixture at such events, and has recently been increasing in popularity. The writer however speculates that some such poetry is not in fact improvised, but has been prepared in advance.
“The Bee” (The Literary Chronicle and Weekly Review)
A literary magazine reports that Pradel, on trial for publishing a politically controversial brochure of poems, insisted on delivering an improvised poem as part of his defence.
[Announcement of performance], Galignani’s Messenger
An announcement of a concert to take place the same evening that will also include improvisation by Sgricci.
Carlo Goldoni, Mémoires
Goldoni writes that Talassi is the best Italian improviser of poetry that has come to Paris.
George Sand, Journal intime
Sand describes an improvised performance by Adam Mickiewicz, a well-known Polish poet. She reflects on the miraculous and ecstatic character of the poet’s performance and its dramatic effect on the audience, and describes the difficulty of remembering precisely what happened during the performance.
Louis Crivelli, “Improvisation de M. Sgricci.”
The author provides an enthusiastic review of the improvisatore Sgricci’s performance of Missolonghi in Paris, noting the intense impression the performance made on the audience.
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.
Madame Charles de Montpezat, Mes Souvenirs du Piémont
De Montpezat discusses the physical stress that accompanies improvisation, and bemoans the fact that improvisatori are so little respected in their art that they strain themselves beyond their capacities and meet an early death.
Mary Shelley, “Madame de Staël”
Mary Shelley quotes the Comte de Guibert as he praises Staël’s extemporized compositions, but she adds that some Parisians ridiculed her.
Review of La Morte di Carlo Primo re d’Inghilterra, Tragedie, en cinq actes, improvisée par M. T. Sgricci
Reviewing the published version of Sgricci’s tragedy, Stendhal recalls his experience of the improvisatore’s live performances. Although Sgricci’s performances are powerful in the moment, when written down and meditated on later, his verses lack originality and beauty. Stendhal also reports seeing Sgricci improvise the fifth act of Othello.
Thomas Medwin, “Letter to Mary Shelley, 27 March 1827”
Medwin writes that Sgricci will not improvise for an English audience. Sgricci has published a drama based on his poetic improvisation in Paris.
Thomas Medwin, The Life of Percy Bysshe Shelley
Medwin discusses Shelley’s relationship with Tommaso Sgricci, noting Shelley’s enthusiasm for the improvisatore. Medwin himself holds Sgricci in lower esteem, mentioning the inferiority of the latter’s poetry in written form, and recounting the end of his career.