The Improvisation of Poetry, 1750 – 1850
A database of commentaries on improvisational performance
The author mentions Abbé Lorenzi’s distinguished skill in poetic improvisation, but writes that Sgricci’s improvisation is more fascinating. The author gives an anecdote of Sgricci’s improvisation of the Death of Polyxena in front of an audience that chose the subject.
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.
An article 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.
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.
A news article mentions upcoming performances of improvised tragedy by Sgricci and Pradel 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.
This is a critique of mediocre Italian improvisors who appropriate the work of established poets and present it to wealthy patrons. The author makes note that, while there are excellent improvisors, most will never demonstrate the talent of Homer.
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.
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.
The article provides a brief history of the origins of improvisation and its rise to popularity in Italy, followed by a detailed account of a performance given by Sgricci in Rome. The author concludes that improvisation is an impressive art, even if it does not lend itself to serious poetic production.
A detailed article describes and explains the Italian art of improvisation, first comparing it to similar arts in different nations, then describing the famous improvisatori Corilla and Sgricci, and their manner of performing. The more popular forms of improvisation in public squares and in casual settings are also discussed, as is the peculiarity of the gift of improvisation to the Italian language and people.
A news article gives details of Sgricci’s performance in Rome in March 1818. The correspondent praises Sgricci’s skill and mentions that he has published some of his poems to general acclaim.
By improvising two tragedies in Florence, the young Cicconi has revealed that he is a worthy successor to Sgricci. He is garnering praise in distinguished journals such as L'Antologia di Firenze for his learned and poetic diction, his vivid action, and his beautiful choruses.
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.
The correspondent praises the young Sgricci’s well-received improvisation of Medea in Turin.
The author lists a number of Sgricci’s improvisations in Turin, noting that he is quick to choose setting and character. Sgricci has won great esteem and medals from many Italian cities.
A report of a lecture on improvisation delivered at the Royal Institution by the Marquis Moscati, who is himself an improviser. Moscati gives a historically and culturally wide-ranging account of extemporaneous poetry and performs his own improvisations on the topics of music and Poland.
In this review of the published version of two improvised tragedies by Sgricci, the reviewer reflects on the art of improvising poetry in Italian, comments on Sgricci’s performance in Paris, and translates a sample passage of Morte into English.
The author describes Sgricci’s public reading of his improvised tragedy on the Fall of Missolonghi, which has been published since he first improvised it in Paris.