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[[File:Giovanni Battista Rubini.jpg|thumb|175px|right|Giovanni Battista Rubini.]]
[[File:Giovanni Battista Rubini.jpg|thumb|175px|right|Giovanni Battista Rubini.]]
'''Giovanni Battista Rubini''' (7 April 1794 – 3 March 1854) was an Italian [[tenor]], as famous in his time as [[Enrico Caruso]] in a later day. His ringing and expressive coloratura dexterity in the highest register of his voice, the ''tenorino'', inspired the writing of operatic roles which today are almost impossible to cast. As a singer Rubini was the major early exponent of the Romantic style of the [[bel canto]] era of [[Vincenzo Bellini]] and [[Gaetano Donizetti]].
'''Giovanni Battista Rubini''' (7 April 1794 – 3 March 1854) was an Italian [[tenor]], as famous in his time as [[Enrico Caruso]] in a later day. His ringing and expressive coloratura dexterity in the highest register of his voice, the ''tenorino'', inspired the writing of operatic roles which today are almost impossible to cast. As a singer Rubini was the major early exponent of the Romantic style of the [[bel canto]] era of [[Vincenzo Bellini]] and [[Gaetano Donizetti]].


Rubini is remembered as an extraordinary bel canto singer, one of the most famous in Europe in the 1830s and 1840s.<ref>{{cite web|url=http://everynote.intissite.com/composer_rubini.html| title=Giovanni Battista Rubini, 1794 - 1854 |publisher=everynote.intissite.com |accessdate=3 July 2006}}</ref> He also popularized the use of a pervasive vibrato as a means of heightening the emotional impact of his operatic performances.<ref>Scott, Michael, ''[[The Record of Singing]]'': he discusses Rubini's influence on subsequent tenors</ref>.
Rubini is remembered as an extraordinary bel canto singer, one of the most famous in Europe in the 1830s and 1840s.<ref>{{cite web|url=http://everynote.intissite.com/composer_rubini.html| title=Giovanni Battista Rubini, 1794 - 1854 |publisher=everynote.intissite.com |accessdate=3 July 2006}}</ref> He also popularized the use of a pervasive vibrato as a means of heightening the emotional impact of his operatic performances.<ref>Scott, Michael, ''[[The Record of Singing]]'': he discusses Rubini's influence on subsequent tenors</ref>


==Career==
==Career==
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Born in [[Romano di Lombardia]], Rubini began as a [[violin]]ist at twelve years of age at the [[Teatro Riccardi]] in [[Bergamo]]. His first appearance as singer was 1814 in [[Pavia]] in ''[[Le lagrime d'una vedova]]'' by [[Pietro Generali]].
Born in [[Romano di Lombardia]], Rubini began as a [[violin]]ist at twelve years of age at the [[Teatro Riccardi]] in [[Bergamo]]. His first appearance as singer was 1814 in [[Pavia]] in ''[[Le lagrime d'una vedova]]'' by [[Pietro Generali]].


After ten years spent in Naples between 1815 and 1825, during which he also scored spectacular successes in France in the 1825/26 season in opera by [[Rossini]], he moved permanently to Paris, performing in Rossini's ''[[La Cenerentola]]'', ''[[Otello (Rossini)|Otello]]'', and ''[[La donna del lago]]''. He divided his time between Paris (in the Autumn and Winter) and London (in the Spring).
After ten years spent in Naples between 1815 and 1825, during which he also scored spectacular successes in France in the 1825/26 season in opera by [[Rossini]], he moved permanently to Paris, performing in Rossini's ''[[La Cenerentola]]'', ''[[Otello (Rossini)|Otello]]'', and ''[[La donna del lago]]''. He divided his time between Paris (in the Autumn and Winter) and London (in the Spring).


His special relation with [[Vincenzo Bellini]] began with ''[[Bianca e Gernando]]'' (1826) and continued until ''[[I puritani]]'' (1835), when he was one of the long-remembered "Puritani quartet" for whose voices the opera was written. The three other members of the illustrious quartet were [[Giulia Grisi]], [[Antonio Tamburini]] and [[Luigi Lablache]], The four appeared together again in [[Donizetti]]'s ''[[Marino Faliero (opera)|Marino Faliero]]'' during the same season, then travelled to London with the Irish composer [[Michael William Balfe]] for a further round of operatic engagements.
His special relation with [[Vincenzo Bellini]] began with ''[[Bianca e Gernando]]'' (1826) and continued until ''[[I puritani]]'' (1835), when he was one of the long-remembered "Puritani quartet" for whose voices the opera was written. The three other members of the illustrious quartet were [[Giulia Grisi]], [[Antonio Tamburini]] and [[Luigi Lablache]], The four appeared together again in [[Donizetti]]'s ''[[Marino Faliero (opera)|Marino Faliero]]'' during the same season, then travelled to London with the Irish composer [[Michael William Balfe]] for a further round of operatic engagements.
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*[http://www.comune.romano.bg.it/index.php?pagina=pagine&id=127 Circolo Amici della Lirica G.B. Rubini] (Under the aegis of Commune, Romano di Lombardia, Bergamo)
*[http://www.comune.romano.bg.it/index.php?pagina=pagine&id=127 Circolo Amici della Lirica G.B. Rubini] (Under the aegis of Commune, Romano di Lombardia, Bergamo)
*[http://www.fondazionerubini.org/ Fondazione G.B. Rubini] (Romano di Lombardia, Bergamo)
*[http://www.fondazionerubini.org/ Fondazione G.B. Rubini] (Romano di Lombardia, Bergamo)
*[http://www.operarubini.com/escola_en.php La Scuola Libera di Canto Lirico Giovan Battista Rubini] in Brazil.
*[http://www.operarubini.com/escola_en.php La Scuola Libera di Canto Lirico Giovan Battista Rubini] in Brazil.


{{Authority control|VIAF=89373781}}
{{Authority control|VIAF=89373781}}

{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. -->
{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. -->
| NAME = Rubini, Giovanni Battista
| NAME = Rubini, Giovanni Battista

Revision as of 08:31, 8 January 2014

Giovanni Battista Rubini.

Giovanni Battista Rubini (7 April 1794 – 3 March 1854) was an Italian tenor, as famous in his time as Enrico Caruso in a later day. His ringing and expressive coloratura dexterity in the highest register of his voice, the tenorino, inspired the writing of operatic roles which today are almost impossible to cast. As a singer Rubini was the major early exponent of the Romantic style of the bel canto era of Vincenzo Bellini and Gaetano Donizetti.

Rubini is remembered as an extraordinary bel canto singer, one of the most famous in Europe in the 1830s and 1840s.[1] He also popularized the use of a pervasive vibrato as a means of heightening the emotional impact of his operatic performances.[2]

Career

Giovanni Battista Rubini.

Born in Romano di Lombardia, Rubini began as a violinist at twelve years of age at the Teatro Riccardi in Bergamo. His first appearance as singer was 1814 in Pavia in Le lagrime d'una vedova by Pietro Generali.

After ten years spent in Naples between 1815 and 1825, during which he also scored spectacular successes in France in the 1825/26 season in opera by Rossini, he moved permanently to Paris, performing in Rossini's La Cenerentola, Otello, and La donna del lago. He divided his time between Paris (in the Autumn and Winter) and London (in the Spring).

His special relation with Vincenzo Bellini began with Bianca e Gernando (1826) and continued until I puritani (1835), when he was one of the long-remembered "Puritani quartet" for whose voices the opera was written. The three other members of the illustrious quartet were Giulia Grisi, Antonio Tamburini and Luigi Lablache, The four appeared together again in Donizetti's Marino Faliero during the same season, then travelled to London with the Irish composer Michael William Balfe for a further round of operatic engagements.

Rubini was admitted as an honorary member of the Accademia Filarmonica di Bologna and retired with a great fortune in 1845. He died in his hometown of Romano in 1854, and is buried in the cemetery there, within a large marble monument.

References

Notes

  1. ^ "Giovanni Battista Rubini, 1794 - 1854". everynote.intissite.com. Retrieved 3 July 2006.
  2. ^ Scott, Michael, The Record of Singing: he discusses Rubini's influence on subsequent tenors

Sources

  • Cassinelli, Bruno; Antonio Maltempi; Mario Pozzoni (1996), Rubini: L’uomo e L’artista. Comune di Romano di Lombardia: Cassa Rurale ed Artigiana di Calcio e di Covo, Vol. I – II.
  • Gara, Eugênio (1968), Giovan Battista Rubini nel Centenario della Morte (7 aprile 1794-3 marzo 1854); Preface by Francesco Speranza. Bergamo: Industrie grafiche Cattaneo Bergamo. (Commemorative Conference of 28 October 1954)
  • Marek, Dan H. (2013),Giovanni Battista Rubini and the Bel Canto Tenors: History and Technique, Scarecrow Press ISBN 9780810886674
  • Pleasants, Henry. "Giovanni Battista Rubini (1794–1854)". Opera Quarterly (10.2): pp. 101–104. {{cite journal}}: |pages= has extra text (help)
  • Traini, Carlo (1954), Il Cigno di Romano. Giovan Battista Rubini. Re Dei Tenore. Bérgamo, Committee for the Centenary celebrations 1954.
  • Zucker, Stefan (February 13, 1982). "Last of a Breed: Giovanni Battista Rubini Ruled as the Paragon of Virtuoso Tenors, King of the High F's". Opera News.
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Institutions relating to Rubini's career

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