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Updated: June 16, 2025
He could not execute those splendid songs of the Rossinian school, in which the feeling of the theme is expressed in a dazzling parade of roulades and fioriture, the songs in which Rubini was matchless.
If some singers are good cooks it does not follow that all good cooks are singers. Benjamin Lumley, in his "Reminiscences of the Opera," tells the sad story of the Countess of Cannazaro's cook, which should serve as a lesson to housemaids who are desirous of becoming moving picture stars. "This worthy man, excellent no doubt as a chef, took it into his head that he was a vocalist of the highest order, and that he only wanted opportunity to earn musical distinction. His strange fancy came to the knowledge of Rubini, and it was arranged that a performance should take place in the morning, in which the cook's talent should be fairly tested. Certainly every chance was afforded him. Not only was he encouraged by Rubini and Lablache (whose gravity on the occasion was wonderful), but by a few others, Costa included, as instrumentalists. The failure was miserable, ridiculous, as everybody expected." Frederick Crowest describes a certain Count Castel de Maria who had a spit that played tunes, "and so regulated and indicated the condition of whatever was hung upon it to roast. By a singular mechanical contrivance this wonderful spit would strike up an appropriate tune whenever a joint had hung sufficiently long on its particular roast. Thus, Oh! the roast beef of Old England, when a sirloin had turned and hung its appointed time. At another air, a leg of mutton,
Her first appearance in London after her marriage was with Rubini and Tamburini in the opera of "Semiramide," speedily followed by a performance of Donna Anna, in "Don Giovanni." The excitement of the public in its eager anticipation of the latter opera was wrought to the highest pitch.
At a performance of "Lucia," which ends, as every one knows, with one of the finest triumphs of Rubini, Madame de Rochefide, whom Antoine had not yet come to fetch, reached the peristyle of the opera-house by the lower corridor just as the staircase was crowded by fashionable women ranged on the stairs or standing in groups below it, awaiting the announcement of their carriages.
Tamburini, in particular, was so oppressed by the death of his young friend that his vocalization, generally so perfect, was often at fault, while the faces of Grisi, Rubini, and Lablache too plainly showed their aching hearts. Rossini, Cherubini, Paer, and Carafa had charge of the funeral, and M. Habeneck, chef d'orchestre of the Académie Royale, of the music.
I thought Rachel's "Marie Stuart" upon the whole her finest performance, though "Adrienne" ran it hard. Persiani, I note, supported by Lablache and Rubini, had a most triumphant reception in Inez de Castro, while Albertazzi was very coldly received in Blanche de Castille. Grisi in Norma was "superb." "Persiani and P. Garcia sang a duet from Tancredi; it was divine!
It was first interpreted by Pasta and Rubini, and Lablache won his earliest London triumph in it. "Marino Faliero" was composed for Paris in 1835, and "L'Elisir d'Amore," one of the most graceful and pleasing of Donizetti's works, for Milan in 1832. "Lucia di Lammermoor," based on Walter Scott's novel, was given to the public in 1835, and has remained the most popular of the composer's operas.
Among the members of the company shone the foremost beacon-lights of Italian art, such as Vestri, Madame Marchionni, Romagnoli, Righetti, and many others who were quoted as examples of dramatic art, as well as Pasta, Malibran, Rubini, and Tamburini in the lyric art,
"I Puritani" was composed for and performed at Paris in 1834, by that splendid quartette of artists, Grisi, Rubini, Tamburini, and Lablache. Bellini compelled the singers to execute after his style. While Rubini was rehearsing the tenor part, the composer cried out in rage: "You put no life into your music. Show some feeling. Don't you know what love is?"
During the season of six months she succeeded in establishing her place as one of the most brilliant singers of the age. She sang in cooperation with many of the foremost artists whose names are among the great traditions of the art. In "Don Giovanni," Rubini and Tamburini appeared with her; in "Anna Bolena," Mme. Tadolini, Santini, and Rubini. Even in Pasta's own great characters, where Mlle.
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