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700:, launched 11 June at Her Majesty's, in which he took the title role: the opera was thereafter produced at Covent Garden in every year until 1911. The premiere was with Tietjens (Margherita), Trebelli (Siebel), Edouard Gassier (Mephistopheles) and Charles Santley (Valentin), Arditi conducting. (On one occasion Giuglini was hissed for a late appearance in the church scene.) It was given for ten nights in succession, after which Gye opened it at Covent Garden on July 2 with
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261:, Giuglini had been destined for the priesthood. He began in the choir of the metropolitan church of Fermo, where his excellence as a treble, and then as a tenor, attracted attention. He firmly resisted many inducements to appear on the stage, until one day he took the place of a member of the Theatre orchestra who fell ill. Soon afterwards the principal tenor also fell ill, and Giuglini took his place as Jacopo in
267:. He was immediately successful, and then had brilliant successes at other theatres. This led him to Milan, where he came to the attention of the Emperor of Austria, who conferred on him the title of chamber-singer (Kammersänger) to his court, and wanted to engage him for Vienna. However Lumley had already booked him for three years in London, but the Viennese court then secured him in advance for the year 1860.
434:, with Piccolomini (Zerlina), Mlles Spezia (Donna Anna) and Ortolani (Elvira), Belletti (Leporello), 'the music of Don Ottavio was warbled by the beautiful voice of Giuglini as few had heard it warbled before. The noble air "Dalla sua Pace" was restored by Giuglini on this occasion, and he made a marked sensation by his tender, expressive delivery of it.' He took part in an Italian version of
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considerable adept in fire work-making..." Mme
Tietjens told of a hazardous journey with him back from a performance in the theatre at Dublin, in a cab stuffed full of fireworks, with excited but unaware fellow travellers smoking pipes and cigars around them. Giuglini himself was a cigar-smoker, and enjoyed gossip and conspiracy among his companions.
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Giuglini was a proof that physical force does not always win: his voice was not powerful, but it was of sympathetic quality, although slightly throaty, and his phrasing was perfect; any ornament he introduced he invariably executed with precision and elegance. He was not a clumsy man, but as an actor
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As her powerful voice rang through the theatre, and excited the plaudits of all present, so the latent fire of
Giuglini became kindled in its turn, and, one artist vying with the other in power and passion of musical declamation, each rehearsal became a brilliant performance. ... By his personation
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He was a great loss, and as a singer he has never been replaced; he was the last tenor who appeared in
England of the real Italian school. There have been more powerful lungs, and more energetic limbs, but not one of the tenors who succeeded him could compare with him as a singer; his phrasing was
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and engaged another tenor, knowing
Giuglini's objection, and that this performance was supernumerary to his contract. Having attempted to extort additional fees, Giuglini at the last minute had the rival forcibly divested of his costume backstage, and sang the role himself, but to little financial
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established him as a great favourite was a lackadaisickal sentimentality which the public, especially the
British public, accepts for poetic sentiment. Withal, Giuglini was the last of his race; there has been no tenor on the Italian stage since who has been able to fill the place he left vacant.
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Lumley noted one of
Giuglini's obsessions in 1857: "At this period the principal passion of the great tenor was for making and letting off fireworks! It was one of those passions which almost amounted to a mania, and engrossed all his thoughts when not occupied with his art. He had come to be a
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had contrived to take that role. His debut as Faust there was, therefore, delayed, and when he was finally asked, Patti (the
Marguerite) was rumoured to be indisposed, to be replaced by a débutante. Giuglini was unnerved, and became indisposed himself. When at the end of his contract a sum was
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I never could understand why
Gardoni should be comparatively forgotten, and Giuglini quoted as one of the great artists who have lived... Giuglini's voice was throaty... he was an awkward, ungainly man, and no actor at all.. he could not execute a rapid passage of four notes. What I conceive
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About his singing there could be no possible difference of opinion. Since the days of Rubini such a remarkable combination of lovely voice with "school" and expression had not been known. The famous "maledizione" (which had sufficed to make the fortune of a tenore robusto like
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followed. During this season
Giuglini began to be difficult, spending much time in Brighton with a notorious lady, but being brought to heel by the threat of being replaced as Manrico. He however made it a condition of his continued service, that Mapleson should present a new
101:. During the last eight years of his life, before he developed signs of mental instability, he earned renown as one of the leading stars of the operatic scene in London. He created several major roles for British audiences, appearing in the first London performances of
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in
Norfolk, which caused a frisson of public scandal. Mrs Wyndham was very attached to Giuglini and set up house with him in London, despite the fact that her husband appeared from time to time to create embarrassing scenes, and threatened her with divorce.
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According to Mapleson, Giuglini had a childlike and sometimes mischievous nature. He was often prey to unscrupulous young women who used their charms to play on his sensitive nature to bring him under their influence. In this he was protected by his manager
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project was resumed, and in 1860 Tietjens and Giuglini were available to Smith and Mapleson as part of a ÂŁ16,000 deal with Lumley. English and Italian opera companies were run on alternate nights, and Giuglini, Tietjens, Mme Lemaire and Sig. Vialetti in
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deducted for that evening because he had taken a walk and left his house on that night, he threw his payment into a stove in fury, and thereafter his reason began to desert him. He returned to London in spring 1865, where Mapleson awaited him for a
500:, who made a sensational debut despite never having studied the part which she sang (i.e. Leonora), and was afterwards coached by Mme Tietjens. At Drury Lane in July 1859 Giuglini created the role of Arrigo in the first London production of Verdi's
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According to a story published in 1951 purporting to be based in historical reality, from around 1858 to 1863 Giuglini openly maintained a relationship with a married woman, Mrs Agnes Wyndham (formerly Agnes Willoughby), wife of 'Mad' Wyndham of
448:), with Piccolomini, Alboni, Vialetti and Belletti: 'Giuglini's singing of "Then you'll remember me", in the Italian brought with it a pleasure never to be forgotten by those who heard it.' He also gave a 'Festival Performance' of
784:, and in a later visit, with Tietjens, the tenor seemed rational, and sang 'Spirito gentil' and M'appari' for them divinely. His condition deteriorated, and having made a sea voyage to Italy that autumn for his health, he died at
801:('Mamma Puzzi' as he called her), who was frequently summoned by letter or telegraph to rescue him at a moment's notice, and never failed to do so. Giuglini was very fond of flying kites, which he often did in the
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which he, Giuglini, had written, including a lugubrious role for Tietjens, and a scene in which no fewer than 120 windows should appear in a stage set, from each of which at a given signal (i.e., the
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Lumley's 1858 season did not begin until after Easter, and for its launch, when the future was very uncertain, he gave a lavish production for the London debut of Thérèse Tietjens, with Giuglini, in
496:, hoping to revive Her Majesty's company, set up a company at Drury Lane, acquiring some of Lumley's artistes, and in its second season (1858) Giuglini appeared again as Fernando for the debut of
349:, with Mlle Spezia and Sig. Vialetti. Giuglini took the London palms, and was immediately approved by the London audience. He joined an already celebrated company which included artists such as
592:(Giuglini as Pollione, opposite Tietjens), all with Arditi conducting. The end of the season was crowned with an evening of excerpts, in which Giuglini and Tietjens sang the grand duet from
668:, causing the tenor's nose to bleed on stage, Giuglini conceived a hatred for that opera and swore a solemn oath never to appear in it again. However, during a breakdown in a series of
483:, and both productions, attended by the Queen and court, had wildly enthusiastic receptions. On 3 June 1858, for Lumley, he appeared as Rodolfo in the first UK performance of Verdi's
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tour. All his valuable clothes and fur coats had been stolen in the journey back from Russia, and all the precious stones removed from his property and jewellery.
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Following an incident in which Mme Tietjens accidentally struck Giuglini on the nose with a drumstick when sounding a gong during a performance of
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At home in Welbeck Street, Giuglini sat eating oysters and refused to put on his trousers. Mapleson placed him in the care of a doctor at
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572:, with the same cast, Tietjens' greatest role. Soon afterwards Giuglini led a cast in the very successful first London production of
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could still write of his own time as the 'post-Giuglinian days'; and Giuglini's name was often coupled with that of the great tenor
468:. Even during rehearsal there was tremendous interest, when Tietjens' artistic efforts called forth a response from her Raoul:
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perfect, which everyone who heard him in 'I Puritani', 'Faust', 'Lucrezia Borgia', and many other operas, will readily admit.
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In 1862 Mapleson finally obtained the lease of Her Majesty's Theatre, with the continued services of Tietjens and Giuglini.
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at the risk of being crushed to death by passing omnibuses, and became known to the drivers who indulgently avoided him.
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in Italy's middle/north-east. He studied in his home country with Francesco Cellini, and made his debut in opera at
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303:, which rivetted the attention completely, and in selection evenings, when he sang the trio 'Pappataci' from
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554:, but she was immediately poached by Gye for Covent Garden. The Lyceum company opened on 8 June 1861 with
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1861 Mayer Brothers photograph of Giuglini in Victoria and Albert Museum, Cat. Item S.144:100-2007
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with Mlle Piccolomini, and Giuglini was received with even greater excitement than before: and in
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Santley, who had admired him in Milan, felt afterwards that he was not so fine a singer as
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was performed for one night only. The 1862 season also included Giuglini in the opera
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Donald MacAndrew, 'Mr and Mrs Windham: a mid-Victorian Melodrama from Real Life',
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of Nicolai (as Mistress Ford and Fenton), with Bettini, Gassier, Santley and
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who observed that he created 'a perfect furore' and was the hero of the day.
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and Santley. However the highlight of that season was the first London
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166: in this section. Unsourced material may be challenged and removed.
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727:, and surpassed themselves. They led the cast in a new production of
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as Azucena, he still held the centre of attention. In the revival of
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of Raoul Giuglini raised himself to the pinnacle of his profession.
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121:. In London, he was the usual stage partner of the great dramatic
981:, London, Remington, 1882, p. 229 (accessible for free online in
562:(who had sung with Giuglini in Milan) and Édouard Gassier, under
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94:(16 or 17 January 1825 – 12 October 1865) was an Italian
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Late in 1864 Giuglini accepted an engagement for a season in
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at Her Majesty's, in the gala performance in the presence of
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hymn) an Italian flag should appear. Mapleson complied: the
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She became Mme Ortolani-Tiberini, having married the tenor
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However, as Lumley's management soon afterwards collapsed,
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Student and Singer - The Reminiscences of Charles Santley
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1303:, 2 vols (Chicago: Belford, Clarke & Co, 1888).
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1065:(Belford, Clarke and Co, Chicago 1888),I, 9, 17.
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403:, with Piccolomini, was a further sensation:
708:, and with Sims Reeves. Giuglini again sang
877:(London, Hurst and Blackett 1864), 404-407.
287:he was ungraceful, and lacked intelligence.
1336:The Life of Sims Reeves written by himself
1099:(London: Simpkin Marshall, 1888), 220-221.
1097:The Life of Sims Reeves written by himself
830:, the tenor who succeeded him in London.
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1394:Chamber singers of the Emperor of Austria
719:In 1864, Tietjens and Giuglini performed
454:with Mlle Piccolomini and Sig. Belletti.
226:Learn how and when to remove this message
458:With Mapleson and Smith, 1858–1861
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131:
1389:19th-century Italian male opera singers
712:, this time with Santley, Vialetti and
550:Meanwhile, Mapleson had also recruited
321:, the first Italian version of Verdi's
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677:advantage, and without the drumstick.
369:led the cast and the box-office under
335:Giuglini made his debut in London for
890:(London: Edward Arnold, 1892), 69-70.
690:with Giuglini as Lamberto, Tietjens,
1166:(London: Isaac Pitman, 1909), 15-16.
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164:adding citations to reliable sources
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1287:(London: Constable, 1932), III, 41.
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330:
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1331:, 3 vols (London: Constable,1932).
1308:Concise Oxford Dictionary of Opera
1037:Concise Oxford Dictionary of Opera
278:, in early 1855, was witnessed by
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1338:(London: Simpkin Marshall, 1888).
558:with Giuglini, Tietjens, Alboni,
477:Tietjens and Giuglini next sang
291:Santley saw him there as Raoul (
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77:in Italy with Francesco Cellini
1317:(London: Edward Arnold, 1892).
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546:Mapleson's Lyceum season, 1861
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1384:Österreichischer Kammersänger
1324:(London: Isaac Pitman, 1909).
1310:(London: OUP, 1974 printing).
1306:H. Rosenthal and J. Warrack,
1244:The Saturday Book - 11th Year
1035:H. Rosenthal and J. Warrack,
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680:The 1863 season opened with
600:Her Majesty's, and a Cantata
317:in the first performance of
257:According to the impresario
242:Portrait of Antonio Giuglini
16:Italian opera singer 1825-65
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1077:Rosenthal and Warrack 1974.
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977:William Alexander Barret,
875:Reminiscences of the Opera
730:The Merry Wives of Windsor
524:George Alexander Macfarren
393:, chosen for the debut of
1329:Music in London 1890-1894
1285:Music in London 1890-1894
532:Helen Lemmens-Sherrington
309:with Scheggi (buffo) and
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1322:Reminiscences of my Life
1233:Mapleson 1888, I, 49-53.
1193:Mapleson 1888, I, 82-85.
1164:Reminiscences of my Life
1153:Mapleson 1888, I, 66-76.
1126:Mapleson 1888, I, 47-57.
1117:Mapleson 1888, I, 43-45.
1108:Mapleson 1888, I, 29-39.
1086:Mapleson 1888, I, 23-27.
979:Balfe: His Life and Work
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1265:Santley 1892, 211-212.
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315:Teatro Regio di Parma
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246:Guiglini was born at
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132:Early career in Italy
1301:The Mapleson Memoirs
1246:(Hutchinson, 1951).
1063:The Mapleson Memoirs
1039:(London: OUP, 1974).
840:Santley also wrote:
575:Un ballo in maschera
306:L'italiana in Algeri
270:His first season at
160:improve this article
118:Un ballo in maschera
852:George Bernard Shaw
735:Caroline Bettelheim
511:Edward Tyrrel Smith
400:Lucia di Lammermoor
1274:Santley 1892, 224.
1253:2011-08-17 at the
1144:Santley 1892, 199.
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974:
967:
966:Reminiscences
961:
954:
953:Reminiscences
948:
941:
940:Reminiscences
935:
928:
927:Reminiscences
922:
915:
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902:
901:Reminiscences
896:
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870:
866:
859:
857:
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846:
841:
836:
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829:
828:Italo Gardoni
819:
816:
815:Felbrigg Hall
810:
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803:Brompton Road
800:
789:
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757:St Petersburg
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594:Les Huguenots
591:
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581:
580:Les Huguenots
577:
576:
571:
570:
565:
561:
557:
553:
552:Adelina Patti
543:
541:
537:
534:(her début),
533:
529:
525:
521:
516:
515:Her Majesty's
512:
507:
505:
504:
499:
495:
490:
488:
487:
482:
481:
474:
469:
467:
466:
465:Les Huguenots
455:
453:
452:
451:La sonnambula
447:
443:
442:
437:
433:
432:
427:
423:
419:
413:
411:
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402:
401:
396:
392:
391:
386:
385:
380:
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375:Frederick Gye
372:
371:Michael Costa
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264:I due Foscari
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230:
227:
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208:
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198:
194:
191:
187:
184:
180:
177: –
176:
172:
171:Find sources:
165:
161:
155:
154:
149:This section
147:
143:
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137:
129:
127:
124:
120:
119:
114:
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93:
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68:
58:
54:
50:
46:
40:
36:
32:
27:
20:
1335:
1328:
1321:
1320:C. Santley,
1314:
1313:C. Santley,
1307:
1300:
1284:
1279:
1270:
1261:
1243:
1238:
1229:
1224:, 423, note.
1221:
1216:
1207:
1198:
1189:
1180:
1171:
1163:
1162:C. Santley,
1158:
1149:
1140:
1131:
1122:
1113:
1104:
1096:
1091:
1082:
1062:
1057:
1049:
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952:
947:
939:
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895:
887:
886:C. Santley,
882:
874:
869:
849:
843:
839:
833:
825:
811:
807:
795:
779:
760:
754:
742:
728:
720:
718:
709:
695:
685:
682:Il trovatore
681:
679:
673:
670:Il trovatore
669:
665:
663:
656:
652:
644:
639:Il trovatore
637:
631:
625:
619:
613:
609:
603:
593:
587:
583:
579:
573:
567:
564:Luigi Arditi
556:Il trovatore
555:
549:
527:
520:Il trovatore
519:
514:
508:
501:
491:
486:Luisa Miller
484:
480:Il trovatore
478:
476:
471:
463:
461:
449:
445:
439:
431:Don Giovanni
429:
415:
406:
398:
388:
382:
378:
363:Giulia Grisi
344:
334:
322:
318:
304:
298:
294:Gli Ugonotti
292:
290:
285:
269:
262:
256:
245:
222:
213:
203:
196:
189:
182:
170:
158:Please help
153:verification
150:
116:
106:
91:
90:
85:Opera singer
61:(1865-10-12)
49:Papal States
1369:1865 deaths
1364:1825 births
1327:G.B. Shaw,
1283:G.B. Shaw,
714:Louisa Pyne
530:, starring
420:, opposite
384:La traviata
379:La favorita
346:La favorita
216:August 2023
1358:Categories
903:, 408-410.
822:A critique
615:Semiramide
528:Robin Hood
446:La Zingara
390:I puritani
300:I Puritani
186:newspapers
82:Occupation
1248:Read here
1052:, 441-43.
968:, 418-19.
955:, 415-16.
850:In 1893,
799:Mme Puzzi
792:Character
725:Garibaldi
649:Garibaldi
424:and with
410:Fraschini
74:Education
1251:Archived
1220:Lumley,
782:Chiswick
744:Mireille
272:La Scala
96:operatic
1294:Sources
1048:Lumley
1022:Lumley
1009:Lumley
996:Lumley
964:Lumley
951:Lumley
938:Lumley
925:Lumley
899:Lumley
653:cantata
645:Cantata
610:Cantata
418:Manrico
200:scholar
123:soprano
1026:, 438.
1000:, 427.
942:, 414.
929:, 411.
786:Pesaro
770:Dublin
739:Gounod
658:Martha
621:Oberon
202:
195:
188:
181:
173:
103:Gounod
67:Pesaro
862:Notes
856:Mario
761:Faust
697:Faust
674:Norma
666:Norma
606:Verdi
589:Norma
509:With
444:(as,
436:Balfe
367:Mario
276:Milan
252:Fermo
207:JSTOR
193:books
113:Verdi
111:and
108:Faust
99:tenor
636:and
586:and
538:and
513:the
373:for
365:and
357:and
248:Fano
179:news
56:Died
45:Fano
41:1825
38:Born
763:as
741:'s
608:'s
526:'s
438:'s
416:As
162:by
115:'s
105:'s
1360::
1070:^
858:.
788:.
716:.
661:.
630:,
624:,
618:,
596:.
582:,
377:.
353:,
327:.
274:,
254:.
128:.
47:,
987:)
916:.
229:)
223:(
218:)
214:(
204:·
197:·
190:·
183:·
156:.
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