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Updated: June 26, 2025
We well remember Ristori as a charming, natural, simple actress; but of the surpassing power which Paris has discovered probably very few of us retain any recollection. Mr. Thackeray's visit at least demonstrates that if we are unwilling to pay English authors for their books, we are ready to reward them handsomely for the opportunity of seeing and hearing them. If Mr.
There are various explanations of this fall of Rachel, without resorting to the theory of superior genius in Ristori. Undoubtedly Paris loves novelty, and has been impatient of the disdainful sway of Rachel.
Ristori did not win it; we did our duty by her, following her carefully with the libretto, and in her most intense effects turning the leaves of a thousand pamphlets with a rustle that must have shattered every delicate nerve in her; but we were always cold to her greatness.
Since Ristori was here in 1874, Scott-Siddons, Creswick and Rignold, have been the best known actors we have seen; although Marshall's Quilp, Vernon's Bunthorne, and Hoskins's Touchstone, were impersonations of a high-class. Soldene, curious to say, did not hit the popular taste. The cardinal fault of colonial acting seems to me to be exaggeration.
Signora Ristori made her début as an infant in the cradle, and was for years a member of a troupe the leading lady of which was her late mother, Signora Maddalena Ristori, a woman of great talent and merit, whose death at an advanced age has recently occasioned her celebrated daughter poignant grief.
Much of the time of Mary Anderson's European visit was spent in Paris. Through the kindness of General Sherman she obtained introductions to Ristori and other distinguished artists, and, to her delight, secured also the entree behind the scenes of the Theatre Francais.
Her acting had this peculiarity, that she seemed always to be herself and the character she was representing at the same time. This is the case also with some professional actors and actresses, notably with Madame Ristori and Edwin Booth: but it is not the finest kind of acting.
The same part was incomparably better played by the Italian Ristori; and, in fact, the Italian nature, though in many respects very different from the German, shares its appreciation for what is deep, serious, and true in Art; herein opposed to the French, which everywhere betrays that it possesses none of this feeling whatever.
Their conclusion was, after all, quite as well founded as ours about their accent. The American intonation, with its freedom from violent emphasis, is, I think, rather pretty when the quality of the voice is sweet. Of course the Americans would have their jokes about Henry's method of speech. Ristori followed us once in New York, and a newspaper man said he was not sure whether she or Mr.
Thus it came about that her visit to America was only moderately successful. She returned to France, where the rising fame of Adelaide Ristori was very bitter to Rachel, who had passed the zenith of her power. She went to Egypt, but received no benefit, and in 1858 she died near Cannes. The man who loved her, and whom she had loved in turn, heard of her death with great emotion.
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