Adelaide Ristori

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Adelaide Ristori
BirthplaceCividale del Friuli, Italy
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Ristori, Adelaide


Born Jan. 29, 1822, in Cividale del Friuli; died Oct. 8, 1906, in Turin. Italian actress.

Ristori was born into a family of actors and acted on the stage from her earliest years. Her professional career began in 1837. She appeared mainly in comedies, and her best roles were Mirandolina in Goldoni’s La locandiera and the title role in his Pamela. Ristori’s performance in the title role of Schiller’s Maria Stuart initiated the full development of her talent. She was outstanding in the roles of strong, rebellious women who went down to defeat but whose spirit remained unbroken, including the title roles in Pellico’s Francesca da Rimini, Giacometti’s Judith, and Legouvé’s Medea and Lady Macbeth in Shakespeare’s Macbeth.

Ristori affirmed the traditions of the heroic manner of acting on the Italian stage and was the first performer to win world recognition for the Italian theater. Between 1856 and 1885 she toured the United States and Europe, visiting Russia in 1860 and 1861. Ristori wrote Memoirs and Artistic Studies (1888; Russian translation, 1904).


Istoriia zapadnoevropeiskogo teatra, vol. 3. Moscow, 1963.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
She has received the following awards; Lily Boulanger Memorial, Boston; Harriet Cohen - Dinu Lipatti gold medal, London; Adelaide Ristori prize, Italy; Artistic Merit and Order of Merit, Poland; Chevalier de l'Ordre du Mrite, France.
The real creators of the period were the actors: Antonio Morrocchesi, Luigi Vestri, Alamanno Morelli, and Gustavo Modena in the first part of the century; and later, Adelaide Ristori, Tommaso Salvini, Ernesto Rosso, Giovanni Grasso, Ermete Zacconi, Ermete Novelli, and Eleonora Duse.
Adelaide Ristori has left extensive memoirs, but her subjective account of events and roles leaves a sketchier impression of her acting than do the graphic, detailed commentaries characteristic of reviewers and devotees of all three actors.
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