intimate friends), retired to the country. Here the singer studied,
as they were produced, the simple, touching airs which he afterward
delivered on the stage with such admirable expression. With this
friendship began Rubini's art connection with the Italian composer,
which lasted till the latter's too early death. Rubini was such a great
singer, and possessed such admirable powers of expression, especially
in pathetic airs (for it was well said of him, "_qu'il avait des larmes
dans la voix_"), that he is to be regarded as the creator of that style
of singing which succeeded that of the Rossinian period. The florid
school of vocalization had been carried to an absurd excess, when Rubini
showed by his example what effect he could produce by singing melodies
of a simple emotional nature, without depending at all on mere
vocalization. It is remarkable that it was largely owing to Rubini's
suggestions and singing that Bellini made his first great success, and
that Donizetti's "Anna Bolena," also the work which laid the foundation
of this composer's greatness, should have been written and produced
under similar conditions.

The immense power, purity, and sweetness of his voice probably have
never been surpassed. The same praise may be awarded to his method of
producing his tones, and all that varied and complicated skill which
comes under the head of vocalization. Rubini had a chest of uncommon
bigness, and the strength of his lungs was so prodigious that on one
occasion he broke his clavicle in singing a B flat. The circumstances
were as follows: He was singing at La Scala, Milan, in Pacini's
"Talismano." In the recitative which accompanies the entrance of
the tenor in this opera, the singer has to attack B flat without
preparation, and hold it for a long time. Since Farinelli's celebrated
trumpet-song, no feat had ever attained such a success as this wonderful
note of Rubini's. It was received nightly with tremendous enthusiasm.