A Dictionary of Music and Musicians/Curioni

CURIONI, a seconda donna, engaged at the King's Theatre about 1754. Among other parts, she sang that of Plistene, a male character in the 'Ipermestra' of Hasse and Lampugnani. She was, perhaps, the mother of Alberico Curioni, a distinguished tenor, born about 1790. After singing at the San Carlo at Naples, and other theatres, he went to Barcelona, and had great success. Benelli, catering for the London Opera, found him there and engaged him for the season of 1821 at £600. He had a very sweet and pleasing voice, was a very agreeable, if not yet a great, singer, and was one of the handsomest men that ever appeared on the Italian stage. As time went on, his talent developed and he improved in dramatic force and value. His expression and taste were pure, and he sang with much intelligence. In 1831 he made his first appearance in London as Tito with Camporese. He then seemed the best tenor that had belonged to the theatre for some time, but he hardly gave the full promise of his future excellence. Curioni was re-engaged in 1822, at an increased salary, and appeared in 'Otello' with renewed éclat; and again in 'La Clemenza di Tito,' in 'La Donna del Lago,' and 'Ricciardo e Zoraide,' in 1823. In 24 and 25 he was again engaged. In the latter year he appeared as Orosmane in 'Pietro l'Eremita,' and in 'Otello,' in 'Così fan tutte,' and 'Il Crociato.' In the latter opera he reappeared in 1826, as also in 'Medea,' where he was very effective in the part of Giasone. His portrait was drawn by Hayter in this character, and there is a good lithograph of it. He was re-engaged in 1827, at the increased salary of £1450, and played a principal part in Pacini's 'Schiava in Bagdad.' In 1828 he was again at the King's Theatre, where he was heard by Lord Mount-Edgcumbe in 1834, singing with undiminished powers. He was an honorary member of the Royal Academy of Music.

[ J. M. ]