Tacitus, Annals, 15.20­-23, 33­-45. Latin Text, Study Aids with Vocabulary, and Commentary, 2013a

granting all the other citizens a festival at public expense. He also kept his
chin smooth afterwards, like the rest; for he was already beginning to be
enamoured of Livia also, and for this reason divorced Scribonia the very
day she bore him a daughter.’ The future emperor Augustus, of course,
did not contribute to the entertainment himself.
The
antecedent of quos is hortos, i.e. the gardens of the imperial estate. There
is irony in Tacitus’ voice as he says Nero felt these private performances
did not attract the attendance figures (cf. ut parum celebres) he desired.
Nero’s talents as a singer and lyre-player are often derided in our sources,
and the advanced position of tantae (such a great [voice]) has a sarcastic
ring to it, especially since the appraisal of his vox as tanta is focalized for
us through Nero himself. The vivid adjective angustos (literally, ‘narrow’,
a ludicrous descriptor of the imperial gardens) suggests Nero feels
restricted by his current opportunities to perform and wants ‘more space.’
Compare the account in Suetonius, Nero 20:
Inter ceteras disciplinas pueritiae tempore imbutus et musica, statim
ut imperium adeptus est, Terpnum citharoedum vigentem tunc praeter
alios arcessiit diebusque continuis post cenam canenti in multam noctem
assidens paulatim et ipse meditari exercerique coepit neque eorum
quicquam omittere, quae generis eius artifices vel conservandae vocis
causa vel augendae factitarent; sed et plumbeam chartam supinus pectore
sustinere et clystere vomituque purgari et abstinere pomis cibisque
officientibus; donec blandiente profectu, quamquam exiguae vocis et
fuscae, prodire in scaenam concupiit, subinde inter familiares Graecum
proverbium iactans occultae musicae nullum esse respectum.
[Having gained some knowledge of music in addition to the rest of his
early education, as soon as he became emperor he sent for Terpnus, the
greatest master of the lyre in those days, and after listening to him sing
after dinner for many successive days until late at night, he little by little
began to practise himself, neglecting none of the exercises which artists
of that kind are in the habit of following, to preserve or strengthen their
voices. For he used to lie upon his back and hold a leaden plate on his chest,
purge himself by the syringe and by vomiting, and deny himself fruits
and all foods injurious to the voice. Finally encouraged by his progress,
although his voice was weak and husky, he began to long to appear on the
stage, and every now and then in the presence of his intimate friends he
would quote a Greek proverb meaning ‘Hidden music counts for nothing.’]