The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1866-09-11
ADELAIDE RISTORI.


prise OF Manager Grdu, we are TO welcome in
this city the greatest OF living female actors
Adelaide RsOtOFi. such an important event
IN the dramatic history OF the country de-
mands more than ordinary attention, and the
circumstances attending the public career of
Madame Ristori will be read with more than
ordinary interest. From memoir OF the
great ar list. nov before us, we are enabled
TO present biographical sketch, which we
believe to be entirely trustworthy.
Her Early Life.
Madame Ristori was born at Civta di Friuli.
in the year 1926. Her father, Antonio Rls-
TORI. and her mother, Maddaleua Pomatell,
belonged to the Cavlcchl troupe-a travelling
company, whose performances extended over
a circuit OF numerous cities in Italy, their life
full of adventure, and too often, alas renew
ing the episodes OF the Roman COmique !"
She made her first appearance on the boards
at the eacly age of two months, when she was
introduced in basket in q play called NetC
Years GJtS. At her fourth year she COM
menced TO play children's parts, which she
continued to do successfully till she was
twelve years of age. At this time she was
engaged, by the celebrated actor and director
MoncalVO, to sustain the roles OF souJrettes
and similar characters Two years later she
was entrusted with the part of "Erancesca di
Rimini," in the tragedy of that name; and the
impression she made in that character decided
The future OF her life. She now began to un"
derstand the difficulties that beset her position
in any attempt to advance in the study Of the
dramatic art, 1t was, therefore, with hearl-
telt pleasure that she abandoned her wander
ing life, and availed herself of an opportunity
TO Join the company Of The King OF Sardinia,
under the directorship OF Gaetano Bazzi. the
most intelligent OF all the Italian managers,
and the author of the best work on dramatic
defamation that exists in Italy. Besides i'm
In .Nlg f t.a la.1,N
ened master, Adelaide found among her new
companions the most mo herly affection and
the lessons Of an excellent professor, in tn e
admirable actress Carlotta Marchioni
After Madame Marchioni retired from the
stage, in 1912, Ristori continued to be the
ornament OF the Sandman company, which
now included Amalia Bestini, one of the most
brilliant stars OF the Italian stage. In the
subsequent year she engaged with the Ducal
Company OF Parma, VIII Sc chief attraction
then was AntOinette RObotti, with whom
Mad'lle RistOri performed for some time.
1t was at the theatre OF Livorno that
Mad'lle Ristori made her first creations, and
from 1874 to 1876 she proved herself to be
simply one Of the most accomplished come
dieRneS in Italy. 1t was only at later period
that new phase in her life revealed her real
genius, and placed upon her brow the diadem
of the tragic muse, which to this day sparl1les
with so much brilliancy.
After having studied and pPrsonated with
great success the principal characters in the
companies of Marchoni, of Bettini, and of
RObOtti, she became the equal OF these cele-
brities, and sustained all the leading parts in
the higher walks OF the drama and comedy,
and with q superiority never contested until
an event of great Importance in the life
OF the trCged5eRle served to increase the
public interest in her history.
The Marriage.
In 1916 she was privately married to the
Marquis Caprerinca Grill, the heir OF one OF
the noblest Roman ducal families. The noble
family first objected to the mesGJIjance, but
decentralization the genius Of Ristor had
indicated itselt-Were glad to welcome the
distinguished and successful heir. The charms
of her new life could not long represS her
passion Tor the stage, and-avalling herself OF
an opportunity to save poor manager from
imprisonment for debt-she gave Shree repre-
sentations for his benefit, which were success
iul beyond any OF her prior achievements.
Her temporary withdrawal from the stage
had given her time for reflection, study, and
observation, and the interval was nobly I'M
proved.
Her Studies.
She had not yet essayed the higher forms
OF tragic representation, in which the full
power of her genius was to be developed.
Her first effort was in 1648, at the time when
the French were besieging Rome when she
personated "Myrrha." The real tragedy then
enacting was too absorbing in its interest to
allow OF any diversion OF public attention to
mimic woes. AT the termination OF the war
Rstori undertook new study Of "Myrrha,"
under the auspices OF an experienced artist
Madame Caroline Jutunari--the result of
which is "Myrrha," as she now impersonates
the chamberlain impersonation so extra
ordinary that Niobe. in her depth OF woe.
could not appear more chaste- Nledea, in her
great revenge, more sublme-oI Venus, in
the rage of her love, more beautiful"
Appearance in Paris.
At the head OF the Royal Company of Sar-
dinia, Ristori visited all the principal cities in
Italy, until the year 1866 when the project
was entertained OF going to Paris. The
Count di Bossi Federigotti, the possessor OF
a liberal fortune sufficient to carry out his
enterprise, wished to organize company Of
the best Italian artists, with Ristori as the
chief attraction, for the purpose OF giving a
series OF performances in Paris during the
Great Exhibition. Unfortunately the plan
was not carried on to completion, and being
abandoned. it was determined that Ristor
and M. Riquetti should visit Paris on theil
own responsibility.
Ristori made her first appearance in Paris
on the 22d OF May, at the Italian Opera
House, in the character OF Francesca d
Rimini. When the curtain fell the star o
Rachel went down the sky, and that of Rstor
shown with the brightest effulgence. The
audience that greeted the debut was not
very large one, as, but few persons had the ide;
that so brilliant an artistic luminary wa
to take its place in the theatrical armament
BV chance only Alexander Dumas Euoen