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Updated: June 24, 2025
In his preface, Signor Tamburini declares that in the first division of the poem he has kept his translation close to the original, while in the two later divisions he had been meno legato, "less exact," in his rendering. This acknowledgment, however unsatisfactory to the reader, presented at least an appearance of fairness.
"Let me put you in a cab and on Sunday " Cassy gave him a little unsugared look. "You take a great deal for granted." Behind the girl's back the Tamburini gave him another look. Cheerful and evil and plainer than words it said: "Leave it to me." Cassy, her perfect nose in the air, announced that she must get her things. Through the emptying restaurant Paliser saw them to the entrance.
At that the former prima donna's imagination balked. But she got something out. "Nice enough. What do you care?" "I hate all those snobs." "So do I," said the Tamburini, who worshipped the breed even when non-existent. "But don't go and include him. If it hadn't been for him " "Was he with her?" "You ought to have heard the way he went on about you.
"He's a man deserving of respect for his virtues, his character, his firmness, and his farseeing intelligence. He has never disguised his opinion of the Jesuits, whom he styles the fathers of deceits, intrigues, and lies; and that's what made Passionei mention him. I think, with him, that Tamburini would be a great and good pope."
Yet Ronconi, by sheer force of a versatile dramatic genius, delighted audiences in characters which had been made familiar to the public through the splendid personalities of Tamburini and Lablache, personalities which united all the attributes of success on the lyric stage noble physique, grand voice, the highest finish of musical execution, and the actor's faculty.
Her delicious singing and utter freedom from aught that savored of mannerism or affectation made her power of captivation complete in spite of her lack of dramatic energy. She sang in the same company with Grisi, Persiani, and Viardot, while Mario and Tamburini added their magnificent voices to this fine constellation of lyric stars.
"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.
But no one could have suspected what "translation" meant in the estimation of the Signor Tamburini, whose name appears on the title-page as that of the translator. Traduttore traditore, "Translator traitor," says the proverb; and of all traitors shielded under the less offensive name, Signor Tamburini is beyond comparison the worst we have ever had the misfortune to encounter.
Then he turned to her mother. "She is a Miss Cara. Cassy Cara her name is. I know her father. He is a violinist." And my daughter is second fiddle, thought Mrs. Austen, who said: "How interesting!" With his sombre air, Lennox summarised it. "She is studying for the opera. The woman with her, Madame Tamburini, is her coach. You may have heard of her." "A fallen star," Mrs.
Rubini and Tamburini were with her in the cast, and the same great artists participated also with her in the performance of "Lucia," which set the final seal of her artistic won h in the public estimate. She also appeared in London in the following year in "Sonnambula."
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