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Rubini was singing at the Scala, Milan, when Barbaja, the impressario, who had heard Bellini's opera of "Bianca e Fernando," at Naples, commissioned the young composer, then only twenty years old, to produce a new opera for his theatre in the Tuscan capital.
To cite the names of Rubini, Lablache, Tamburini, Malibran, Grisi, Persiani, is to give the highest idea of Italian singing. But although Chopin was more devoted and more happy in his Polish friendships, he had beloved as well as loving friends of all nationalities Germans, English, and even Russians. That as a good Pole he hated the Russians as a nation may be taken for granted.
Alluding to a performance of 'Semiramide, he said with a malicious smile, 'I suppose you saw the beautiful decorations in it? He has not received the Sisters Marchisio for fear they should sing to him, nor has he heard them in the theatre; he spoke warmly of Pasta, Lablache, Rubini, and others, then he added that I ought not to look with jealousy upon his budding talent as a pianoforte-player, but that, on the contrary, I should help to establish his reputation as such in Leipsic.
As stolid as a wooden block in all that appertains to impersonation of character, his vocal organ was so incomparable in range and quality, his musical equipment and skill so great, that his memory is one of the greatest traditions of the lyric art. Rubini, born at Bergamo in the year 1795, made his début in one of the theatres of his native town, at the age of twelve, in a woman's part.
First Appearance in Paris and London. A Tour through Belgium with Rubini. Anecdote of Prince Metternich. Further Studies of Persiani's Characteristics as a Singer. Donizetti composes Another Opera for her. Her Prosperous Career and Retirement from the Stage. Last Appearance in Paris for Mario's Benefit.
Her Desdemona in "Otello," which shortly followed her first opera, was supported by Rubini as Otello, Tamburini as Iago, and Ivanhoff as Rodriguez. It may be doubted whether any singer ever leaped into such instant and exalted favor in London, where the audiences are habitually cold. Her appearance as Norma in December, 1834, stamped this henceforth as her greatest performance.
When Rubini sang Il mio cor si divide, she rushed away. Music is sometimes mightier than actor or poet, the two most powerful of all natures, combined. Savinien de Portenduere accompanied Sabine to the peristyle and put her in the carriage without being able to understand this sudden flight. Madame du Guenic now entered a phase of suffering which is peculiar to the aristocracy.
"La Sonnambula," an opera in two acts, words by Romani, was first produced in Milan, March 6, 1831, with the following cast: AMINA Mme. PASTA. ELVINO Sig. RUBINI. RODOLFO Sig. MARIANO. LISA Mme. It was brought out in the same year in Paris and London, and two years after in English, with Malibran as Amina. The subject of the story was taken from a vaudeville and ballet by Scribe.
I, who recollected Pasta, Malibran, Grisi, Rubini, and others of that epoch, could not help agreeing with him when I compared them to the singers I heard at the Pergola and elsewhere. The theatre, too, was good at Bologna, and we frequently went to it. One evening we were sitting on the balcony of the hotel, when we saw a man stab another in the back of the neck, and then run away.
Rubini was always remembered by his songs, and though the extravagance of embroidery, the roulades and cadenzas with which he ornamented them, oftentimes raised a question as to his taste, the exquisite pathos and simplicity with which he could sing when he elected were incomparable.
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