Denton Examiner, Audenshaw, Hooley Hill and Dukinfield Advertiser. — 1876-11-25 (Denton, Greater Manchester, England)

TAMBURINI. (From the "Atheneum.") , The last of the four incomparable artists who for 1 so many years at the Kings Theatre, afterwards known as her Majesty's Theatre, maintained the supremacy of the pure Italian school of vocalisation, and who were equally distinguished bytheir histrionic genius, is no more. Anton:o Tamburini, the survivor of the famed quartet Grisi, Rubini, Lablache, and Tamburini—died at Nice on the Bth inst. He was born in the episcopal city of Faenza (Legation of Ravenna in the Papal States) on the 28th of March, 1800. His father was a, bandmaster, who instructed h e son to play the Frence , horn; but, as he was weak, the studies of the young Antonio were turned towards the science of , music and singing. At twelve years of age he sang in the choruses of the operas given during the fair at Femme., and had the advantage of hearing the two great tenors of the period, David and Donzelli; the soprano, Signora Mombelli ; and the contralto, Signora Pisaroni ; and the grand style of such singers was not lost on the youth of Tamburini, whose voice, of course, broke at the usual age, and, from having been an alto, he became a barntone-bass. At 18 he ran away from home to make his debut at a small town, Cents, and he made his first impression on the lyric stage in Generals opera," La Cordes. di Col-Erboeo." From the small theatres he was soon emancipated, and at Bologna his success was decided in the " Cenerentola " and "Banana in Algeri "of Rossini. He sang in succes eion at Naples, Florence, Leghorn, and Turin. In 1822 he made his debut at the Scala, in Milan. At Venice, on his way to Trieste, Rossini heard him. His next theatre was in Rome, where he sang with Madame de Meric-Lalande and David in "Moth in Egitto " of Rossini. The Impresario Barbaja engaged Tamburini for four years to sing in Naples, Milan, and Vienna. Oa the 7th of October, 1832, he made his first rippearence at the Italian Opera-house in Paris se Dandini, in "Ls Oenerentola," and from that year to the period of his retirement Tamburini alternated between Paris and London. In both capitals his popularity was unbounded. Laporte,who , thought that he could dispense with the services of Tamburini in order to engage secondary artists on cheaper terms, found out his grievous mistake in trying to dispense with the Mei& garde in 1841, when such an outbreak took place within the , walls of her Majesty's Theatre as will not easily be forgotten. The Tamburini row ended in Laporte being compelled to declare in public that he would re-engage the favourite baritone, who re-appeared triumphantly. Lumley's attempt to repeat the unsuccessful tactics of his partner, in 1846, proved a failure more disastrous than that of Laporte. , Grist, Mario, Tamburini, and Madame Persiani, with the band and chorus, with few exceptions, went over to Covent - garden in 1847. Tamburini, although he was advancing in age, remained, to the lest night of his singing in London, an immense favourite with the operatic public. On or off the stage, Tamburini was essentially a gen'amen ; he had the polished and refined manners of the oli school. He resided for many years in the Rue Tronchet, in Paris, and had also a villa at SCvres ; but latterly his health caused him to seek the mild climate of Nice. His wife, Madame Tamburini, was once a prima donna; ono daughter married the charming, tenor, Signor Gardoni. Although Tamburini realised a fortune, he had a heavy affliction in a son, who speculated on the Paris Stock Exchange, and who eommitted suicide. Tarnburini was a model artist, always the first to attend and the last to leave rehearsals. He was most careful and conscientious in the exercise of his vocation—a truly honourable and ertimablo man, as well as a consummate artist.