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Updated: June 16, 2025
Among those names which are inseparable from hers, are those of Rubini, Tamburini, Lablache, and, par excellence, that of Mario. Any satisfactory sketch of her life and artistic surroundings would be incomplete without something more than a passing notice of these shining lights of the lyric art.
Sweeney, the pride and charm of the cavalry head-quarters, is going to pass away, and leave his comrades and his banjo forever! You would say that the future throws its shadow on the present. Sweeney's tones are so sweet and sorrowful, that many eyes grow moist like Rubini, he "has tears in his voice." The melting strains ascend and sigh through the old hall.
"I Puritani di Scozia," an opera in two acts, words by Count Pepoli, was first produced at the Théâtre Italien, Paris, Jan. 25, 1835, and in London in the following May, under the title of "I Puritani ed i Cavalieri." The original cast was as follows: ELVIRA Mme. GRISI. ARTURO Sig. RUBINI. RICARDO Sig. TAMBURINI. GIORGIO Sig.
"Norma" was followed by "Beatrice di Tenda," and this by "I Puritani," his last opera, written in Paris for the four great artists, Grisi, Rubini, Tamburini, and Lablache. Bellini died Sept. 23, 1835, in the twenty-ninth year of his age, preserving his musical enthusiasm to the very last.
He had seen Tambourini, Rubini, Persiani, Grisi, and, compared with them, Lagardy, despite his grand outbursts, was nowhere. *Oh beautiful angel, my Lucie. "Yet," interrupted Charles, who was slowly sipping his rum-sherbet, "they say that he is quite admirable in the last act. I regret leaving before the end, because it was beginning to amuse me."
A great throng pressed against both entrances of the theatre for hours before the opening of the doors, and many ladies were severely bruised or fainted in the crush. It was estimated that more than four thousand persons were present on this occasion. The cast was a magnificent one. Mme. Grisi was supported by Mmes. Persiani and Albertazzi, and Tamburini, Lablache, and Rubini.
Besides those I have mentioned we had a numerous acquaintance who were neither learned nor scientific; and at concerts at some of their houses I enjoyed much hearing the great artists of the day, such as Pasta, Malibran, Grisi, Rubini, &c., &c. We knew Lucien Buonaparte, who gave me a copy of his poems, which were a failure.
And, in singing, Rubini was his idol Rubini who triumphed in the role of Othello, giving the suspicion air in a manner no one could equal. It intoxicated him to hear this tenor with Tamburini, Lablache, and Madame Grisi; while Nourrit's song, Ce Rameau qui donne la Puissance et l'Immortalite in Robert le Diable made his flesh creep. It yielded a glimpse of life with all its dreams satisfied.
For example, a tenor in reaching for a high note may find that the violent raising of the collarbone and shoulder-blades, which is involved in clavicular breathing, assists him at the critical moment, and he may, rightfully, perhaps, employ that method in that one great effort of an evening remembering, however, that Rubini actually broke his collarbone in delivering a very high note.
Metternich immediately summoned his major-domo, and said to him, "Remember that, if ever M. Rubini visits Johannisberg during my absence, he is to be received as if he were its master. You will place the whole of the château at his disposal so long as he may please to remain." "And the cellar, also?" asked Rubini. "The cellar, also," added the Prince, smiling: "the cellar at discretion."
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