Memoirs and Artistic Studies of Adelaide Ristori;

liiiiBi I^r»')' MEMOIRS AND ARTISTIC STUDIES OF ADELAIDE RISTORI , Memoirs of Charming Women Memoirs and Artistic Studies of Adelaide Ristori, Translated by G. Manlellini Memoirs of an Arabian Princess, Translated by Lionel Strache's Memoirs of Madame Vigee Lebrun, Translated by Lionel Slrachey Memoirs of a Contemporary, Translated by Lionel Slrachev Memoirs of the Countess Potocka, Translated by Lionel Slrache]) A Belle of the Fifties, being Memoirs Put into narratine form of Mrs. Clay of Alabama, by Ada Sterling A Southern Girl in '61 B\) Mrs. D. Giraud Wright Dixie After the War, Bv Myrta Lockett Avars I'hotottrapli by Schciiibuche &• Valdi, K ADELAIDE RISTORI AS MARIE ANTOINETTE Memoirs and Artistic Studies OF Adelaide Ristori Rendered into English By G. Mantellini With Biographical Appendix by L. D. Ventura Illustrated from photographs and engravings New York Doubleday, Page & Company 1907 Copyright, 1007, by Doubledat, Page & Company Published, Ai'r.rsr, 1907 All Rights Reserved Including that op Translation into Forkign Languages Including THB Scandinavian PREFACE The Marchesa Capranica del Grillo, better known as Adelaide Ristori, died in Rome, Italy, the 9th of October, 190Ó, aged 84. Her life was full of vivid contrasts; a life which, even apart from its stage aspects, was more than ordinarily full of colour. Her autobiography, I offer rendered into English to the American public, primarily to gratify her own desire expressed in one of her letters addressed to Mr. L. D. Ventura of San Francisco, California, who has graciously volunteered to add some of his Bio- graphical Reminiscences as an Appendix to this work, Madame Ristori says: "My intention is to have my Memoirs published in English. Do you believe that such a book would receive a welcome in the United States ?" A woman of amazing personal power, gifted with extraor- dinary histrionic genius, though possibly never revealing the supreme gifts of inspiration, her early theatrical powers were developed under the best conditions that her native land afforded—she rose steadily into a position of prominence in Italy, and carried the glory of its dramatic art into all the civilised countries. She became a favourite of sovereigns and all the literary geniuses of her time, not only in her own country, but in the lands she visited. What a shining example is the life of this illustrious woman who received the highest honours and who ex- perienced the most noble satisfaction, without her ever forgetting or feeling ashamed of her humble origin! " Both my father and my mother were modest dramatic actors," thus she begins her autobiography. When she reached the age, as she writes, "in which the heart feels the imperious need of other affection than " that of art . the Marquis Giuliano Capranica del Grillo fell in love with her and she returned his affection. " After a series of contretemps and of romantic events, our wishes were able to be accomplished." So vi MEMOIRS OF ADELAIDE RISTORI she writes, but in these autobiographic notes, the great tragedienne passes over what these contretemps and romantic events were. Her biographies abound, however, with the particulars of her dramatic love story publishicd during the days of her first triumphs in Paris. Madame Ristori met the one destined to be companion of the best years of her life, in Rome, in 1846, while she was playing at the theatre Capranica, owned by the father of Giuliano. As soon as the young man fell in love, he asked formally for the hand of the actress, but it was not to be expected that the noble family of Capranica would consent to the marriage of the young Marqms wdth an actress. The noble father formally refused and in order to put an end to this sentimental romance contrived that his son, Giuliano, should be forbidden to leave the Pontifical States, when Adelaide Ristori w^as called to Florence, by a professional engagement. But Adelaide, as soon as she was able, ran away from Florence, sailed from Leghorn and landed at Civitavecchia where her lover met her at the castle of Santa Severa, in which he had been confined. The old ]\Iarquis having been apprised of the flight of Miss Ristori, obtained an order from the Ministry, to send Giuliano to Cesena on a mission. Not- withstanding the difiiculties and discomforts of the trip, the two lovers left together, he bound for Cesena, and she for Florence. During this romantic journey, the biographer narrates, they arrived at a small village. It was the hour for the mass service; the church door was open, the priest officiating at the altar. The Marquis Giuliano del Grillo, Miss Ristori and her father entered, knelt down before the altar and asking those present to be witnesses, the two lovers declared that they wanted to be made husband and wife. It seems that in those times such a hasty form of marriage was perfectly legal. The loving couple had, however, to separate at the frontier. Giuliano w^ent to Cesena and Adelaide to Flor- ence. The young husband could not bear long the cruel separation. Disguising himself as a truck-driver, and buying a passport from a dancing-master, for which he paid 800 scudi, he crossed the frontier of the Pontifical 4^r*w^v--->.^ \. It» ~KN. — r: . I» ELEONORA DUSE PREFACE vii States, and arrived at Florence in the evening. Without being noticed, he went behind the scenes of the theatre where his beloved bride was playing, and she coming off the stage covered with flowers and applause, found him hidden behind the paraphernalia. The little romance had, however, a happy ending, owing to the interference of the mother of Giuliano, who had recognised the superior moral qualities of the actress; and also owing to the advice of Cardinal Pecca. The marriage was regularly celebrated in 1847. During her travels around the world Ristori never forgot to be an Italian, and never neglected to circulate through the people of foreign countries sympathy for Italy, which was at that time divided and under tyrannical rule. Count Cavour, was one of her friends and admirers from the time of her first appearance. At Turin in the Theatre Carignano, where Ristori was playing, there was a foyer for the actors, and conspicuous politicians would occasionally go there. One of the most assiduous of these frequenters was Count Cavour, of whom Madame Ristori used to tell this anecdote. She read once in some of the papers of the opposition, some atrocious words against his policy and also against his person. She was astonished that Cavour was not annoyed, but he broke into laughter, and said, " Let those fools of newspapers say what they want, I don't mind them; on the contrary, they amuse me." The public, in order to love the artist, must be loved. And Ristori loved it up to her death. Can anyone imagine in our days that the Prime Minister of either France or Italy should write to Sarah Bernhardt or to Madame Duse the famous letter that Cavour wrote to Madame Ristori in 1861? "Do use that authority of yours for the benefit of your country, and I will not only applaud in you the first actress of Europe, but also the most efficacious cooperator of our diplomatic negotiations." Could anyone imagine a deputation of citizens who would go to see Duse or Bernhardt, before the beginning of one of their performances, and ask her to intercede with King or President to obtain pardon for a soldier vili MEMOIRS OF ADELAIDE RISTORI sentenced to death? That happened in Spain, as men- tioned in these "Memoirs," and the pardoned soldier, by the name of Chapado, up to a few years ago, would write to Madame Ristori, calHng her "my darhng mother!" Madame Ristori knew that times have changed, and during the last winter evenings of her life, when she received friends in her palace situated in the heart of the old part of Rome, after having related with regal discretion and simplicity some anecdote of her past glory, she would fall back in her armchair and speak about the modem drama and the distracted audiences of to-day. If anyone told her that the modern theatre was sceptical and common because the audiences wanted it to be so, she would answer with her sonorous voice, raising her beautiful, statuesque head under its white widow's crepe: "The audience is what the actor makes it!" G. Mantellini •a < Q >. O o 1 O o ° ^ =- Z - < y u o > X Z t:. 3 INTRODUCTION The proverb which compares human hfe to a journey seems to have been invented purposely for me. My life has glided through continuous, long journeyings, that I might bring my art to the consideration of all peoples. In many countries it has been my privilege to perform the leading roles in various immortal works. I have observed that expression of human passion excites intense sensations in every race and clime. I may also add that in the vocation I have chosen, I have exercised my artistic conscience often by over- taxing my physical strength, endeavouring always to enter into the nature of the character I had to represent by studying the customs of the times and by making historical researches. This I did in order to represent the physical and moral personalities of my characters, whose manifestations were gentle at times, at times terrible, but always great. The applause with which the most select audiences honoured me was certainly an adequate return for my sincere efforts, but I must add that the highest satisfaction came to me from having succeeded in identifying myself with the characters which I repre- sented and from having become inspired by their passions.

Load more