operatic career he became a professor of singing at the Conservatoire.

Madame Grisi, who made her début in 1823, and held her place as one of the greatest{59} singers for many years, was the daughter of an Italian officer of engineers, and her mother's sister was the once celebrated Grassini, a contemporary of Mrs. Billington and Madame Mara.

Giulietta Grisi, as a child, was too delicate to receive any musical training; but her ambition caused her to learn the pianoforte by her own efforts, and her imitation of her sister Giuditta's vocal exercises indicated to her family the bent of her tastes.

In due course she entered the conservatoire in her native town, and was later sent to her Uncle Ragani at Bologna, where, for three years, she was under the instruction of Giacomo Guglielmi. Gradually the beautiful quality of her voice began to manifest itself. She was remarkably apt and receptive, and profited by her masters to an extraordinary degree.

For three months she studied under Filippo Celli, and in 1828 she made her début{60} in Rossini's "Elmira." Rossini was delighted with her, and the director of the theatre immediately engaged her for the carnival season.

The career thus auspiciously commenced, continued for more than a quarter of a century, during which time Grisi delighted audiences throughout the whole of Europe, and made a tour, with Mario, of the United States.

The production of Bellini's last opera, "I Puritani," in 1834, was one of the greatest musical events of the age, not solely on account of the work, but because of the very remarkable quartet which embodied the principal characters,—Grisi, Rubini, Tamburini, and Lablache. This quartet continued in its perfection for several years, with the substitution later of Mario for Rubini, and was one of the most notable and interesting in the history of operatic music.

Giulietta Grisi's womanly fascinations made{61} havoc among that large class who become easily enamored of the goddesses of the theatre, and she was the object of many passionate addresses. She married in 1836 a French gentleman of fortune, M. Auguste Gerard de Melcy, but she did not retire. This marriage was unhappy, and after her release from it by divorce she became the wife of Mario, the great tenor.

Grisi united much of the nobleness and tragic inspiration of Pasta, with something of the fire and energy of Malibran; but, in the minds of the most capable judges, she lacked the creative originality which stamped each of the former two artists. Her dramatic instincts were strong and vehement, lending something of her own personality to the copy of another's creation, and her voice as nearly reached perfection as any ever bestowed on a singer.

Madame Grisi continued before the public until 1866, although her powers were failing{62} rapidly. In 1869 she died of inflammation of the lungs.

From the year 1834, when she made her début at the King's Theatre, London, until 1861, when she retired from the Royal Italian Opera, Grisi missed only one season in London, that of 1842. It was a rare thing indeed that illness or any other cause prevented her from fulfilling her engagements. She seldom disappointed the public by her absence, and never by her singing. Altogether her artistic life lasted about thirty-five years. During sixteen successive years she sang, during the season, at the Théâtre des Italiens in Paris, her engagements there beginning in 1832 with her appearance as Semiramide.

Both Grisi and her husband, Mario, were much admired by the Czar Nicholas of Russia, and it is said that the Czar, meeting Grisi one day walking with her children, stopped and said facetiously, "I see, these{63} are the pretty Grisettes." "No," replied Grisi, "these are my Marionettes." Mario, too, is said to have been asked by the Czar to cut his beard in order to the better look one of his parts. This he declined to do, even when the Czarina, fearing that he might become a victim of the Czar's displeasure, added her request. But Mario declared that it was better to incur the displeasure of the Czar than to lose his voice, saying that if they did not like him with his beard, upon which he relied for the protection of his voice, they surely would not like him without his voice.

During the height of their prosperity, Grisi and Mario lived in princely extravagance. Their family consisted of six daughters, of whom three died quite young, and they were enthusiastically devoted to one another.

Giambattista Rubini, who was for years associated with Grisi, was a native of Bergamo,{64} where he made his début at the age of twelve in a woman's part, sitting afterwards at the door of the theatre between two candles, and holding a plate into which the public deposited their offerings. During his early life he belonged to several wandering companies, in which he filled the position of second tenor; but in 1814, at the age of nineteen years, he was singing in Pavia for a salary of about nine dollars a month. Before the end of his career he was paid £20,000 a year for his services at the St. Petersburg Imperial Opera.

Rubini's countenance was mean, his figure awkward, and he had no conception of taste, character, or picturesque effect; but his voice was so incomparable in range and quality, his musical equipment and skill so great, that his memory is one of the greatest traditions of lyric art. Like so many of the great singers of his time, Rubini first gained his reputation in the operas of Bellini and{65} Donizetti, and many of the tenor parts of these works were composed expressly for him. The immense power, purity, and sweetness of his voice have probably never been surpassed, and its compass was of two octaves, from C in the bass clef. He could also sing in falsetto as high as treble F, and with such skill that no one could detect the change into the falsetto.

Rubini died in 1852, leaving one of the largest fortunes ever amassed on the stage.

Another member of the celebrated "Puritani" quartet was Antonio Tamburini, a native of Faenze. Without any single commanding trait of genius, he seems, with the exception of Lablache, to have combined more attractive qualities than any male singer who ever appeared. He was handsome and graceful, and a master of the art of stage costume. His voice, a baritone of over two octaves in extent, was full, round, sonorous, and perfectly equal throughout.{66} His execution was unsurpassed and unsurpassable, of a kind which at the present day is well-nigh obsolete, and is associated in the public mind with sopranos and tenors only.

An amusing instance of Tamburini's versatility was shown at Palermo during the carnival season of 1822, when the audience attended the theatre armed with drums, trumpets, shovels, and anything that would make a noise. Tamburini, being unable to make his basso heard, sang his music in falsetto, an accomplishment which so delighted the audience that they laid aside their instruments of torture, and applauded enthusiastically. The prima donna, however, was so enraged and frightened by the rough behavior of the audience that she fled from the theatre, and the manager was at his wit's end. Tamburini donned the fugitive's satin dress, clapped her bonnet over his wig, and appeared on the stage with a mincing step.{67} He sang the soprano score so admirably, burlesquing the action of the prima donna, but showing far greater powers of execution than she possessed, that his hearers were captivated. He did not shirk even the duets, but sang the woman's part in falsetto, and his own in his natural voice.

He retired in 1859, and