A Dictionary of Music and Musicians/Banti, Brigitta

by Julian Marshall

BANTI, Brigitta Giorgi, said to have been the daughter of a Venetian gondolier, was born at Crema, Lombardy, 1759. She began life as a 'cantante di piazza,' or street-singer; and received some little instruction at the expense of a rich amateur. At the age of 19 she set out for Paris, to seek her fortune, supporting herself by singing at inns and cafés by the way. De Vismes, Director of the Académie, happening to hear a splendid voice on the Boulevard at Paris one evening, stopped at the café where the girl was singing, and slipping a louis into her hand desired her to come to him at the Opera the next day. Here, upon hearing an air of Sacchini twice or thrice, she astonished the Director by singing it perfectly from beginning to end. He engaged her for the Opera, where she made a triumphant début in a song between the second and third acts of 'Iphigenie en Aulide.' While singing in Paris, though she never made the slightest mistake in concerted pieces, she sometimes executed her airs after a very strange fashion. For instance: in the allegro of a cavatina she would, in a fit of absence, recommence the air from the very beginning, go on with it to the turning-point at the end of the second part, again recommence, and continue this proceeding until warned by the conductor that she had better think of ending. In the meantime the public, delighted with her voice, is said to have been quite satisfied. Agujari having left London, the managers of the Pantheon gave the young singer—still called Giorgi—an engagement, on condition that £100 a year should be deducted from her salary for the cultivation of her voice. Sacchini was her first master, but he soon gave her up in despair. Piozzi followed, with no better success. Abel was the last. She was at this time, without doubt, a very bad singer with a very beautiful voice; and of so indolent and careless a disposition that she never could be made to learn the first rudiments of music. In 1780 she left England, and sang to enthusiastic audiences at several foreign courts. Lord Mount-Edgcumbe heard her at Reggio in 1785, where, he says, her singing was delightful. In 1799 [App. p.530 "1794"] she returned to London, making her début in Bianchi's 'Semiramide,' in which she introduced an air from Guglielmi's 'Debora,' with violin obligato, originally played by Cramer, afterwards by Viotti, Salomon, and Weichsell, the brother of Mrs. Billington. This song, though long and very fatiguing, was always encored, and Banti never failed to repeat it. Genius in her seemed to supply the want of science; and the most correct ear, with the most exquisite taste, enabled her to sing with more effect, expression, and apparent knowledge of her art, than many a better singer. She never was a good musician, nor could sing at sight with ease; but having once learnt a song, and mastered its character, she threw into it deeper pathos and truer feeling than any of her rivals. Her voice was of most extensive compass, rich and even, and without a fault in its whole range,—a true voce di petto throughout. In her youth it extended to the highest pitch, and was so agile that she excelled most singers in the bravura style; but, losing a few of her upper notes, she modified her manner by practising the cantabile, to which she devoted herself, and in which she had no equal. Her acting and recitative were excellent. Her most favourite pieces were the 'Alceste' of Gluck, in which she very greatly excelled, three of her songs in it having to be repeated every night; his 'Ifigenia in Tauride '; Paisiello's 'Elfrida' and 'Nina'; 'Mitridate,' by Nasolini; 'Alzira,' 'Merope,' 'Cinna,' and others composed expressly for her by Bianchi. She also acted in comic operas, and was particularly successful in Paisiello's 'Serva Padrona.' Her spirits never flagged; nor did her admirers ever grow weary of her. They never wished for another singer; but Mrs. Billington had now returned, and astonished the public with her marvellous execution. The manager engaged her for the next season, and allowed Banti, whose health was now failing, to depart. Before the close of her last season (1802), however, an interesting performance took place. Banti prevailed on Mrs. Billington to sing with her on the night of her benefit, leaving her the choice of opera and character. Portogallo's 'Merope' was chosen, Mrs. Billington acting the part of the heroine, and Banti that of Polifonte, though written for a tenor. Banti died at Bologna, February 18, 1806, bequeathing her larynx (of extraordinary size) to the town, the municipality of which caused it to be preserved in spirits. Her husband was the dancer Zaccaria Banti, who was dancing in London as early as 1777 in Sacchini's 'Creso.' She left a daughter, married to Dr. Barbieri, who raised to her memory a monument in the cemetery outside the walls of Bologna, which was afterwards repaired and adorned by her husband, and from which we learn the places and dates of her birth and death ('Harmonicon,' viii.).

[ J. M. ]