Piccolomini, Marietta. (1834-1899). Lithograph Portrait by Grozzelin. 24.5 X 33 cm.
Piccolomini was the first soprano to achieve international success as Violetta and many contemporaries noted the emotional impact of her portrayals of this and other roles. One London critic wrote: “We cannot attempt to describe it, made up as it is of a thousand minute traits of nature and feeling which went at once to the heart of every one.” In his memoirs, Luigi Arditi commented that “Piccolomini’s attraction lay not so much in her talents as in the fascination of her whole being, and in the display of pathos, which at times, was wonderfully genuine and unquestionably superior to any kind of art.”
Piccolomini was the first soprano to achieve international success as Violetta and many contemporaries noted the emotional impact of her portrayals of this and other roles. One London critic wrote: “We cannot attempt to describe it, made up as it is of a thousand minute traits of nature and feeling which went at once to the heart of every one.” In his memoirs, Luigi Arditi commented that “Piccolomini’s attraction lay not so much in her talents as in the fascination of her whole being, and in the display of pathos, which at times, was wonderfully genuine and unquestionably superior to any kind of art.”
Piccolomini, Marietta. (1834-1899). Lithograph Portrait by Grozzelin. 24.5 X 33 cm.
Piccolomini was the first soprano to achieve international success as Violetta and many contemporaries noted the emotional impact of her portrayals of this and other roles. One London critic wrote: “We cannot attempt to describe it, made up as it is of a thousand minute traits of nature and feeling which went at once to the heart of every one.” In his memoirs, Luigi Arditi commented that “Piccolomini’s attraction lay not so much in her talents as in the fascination of her whole being, and in the display of pathos, which at times, was wonderfully genuine and unquestionably superior to any kind of art.”
Piccolomini was the first soprano to achieve international success as Violetta and many contemporaries noted the emotional impact of her portrayals of this and other roles. One London critic wrote: “We cannot attempt to describe it, made up as it is of a thousand minute traits of nature and feeling which went at once to the heart of every one.” In his memoirs, Luigi Arditi commented that “Piccolomini’s attraction lay not so much in her talents as in the fascination of her whole being, and in the display of pathos, which at times, was wonderfully genuine and unquestionably superior to any kind of art.”