27 Facts About Antonio Giuglini

Antonio Giuglini created several major roles for British audiences, appearing in the first London performances of Gounod's Faust and Verdi's Un ballo in maschera.

Antonio Giuglini studied in his home country with Francesco Cellini, and made his debut in opera at Fermo.

Antonio Giuglini began in the choir of the metropolitan church of Fermo, where his excellence as a treble, and then as a tenor, attracted attention.

Antonio Giuglini 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.

Antonio Giuglini was immediately successful, and then had brilliant successes at other theatres.

Antonio 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.

Antonio Giuglini was not a clumsy man, but as an actor he was ungraceful, and lacked intelligence.

Antonio Giuglini made his debut in London for Benjamin Lumley on 14 April 1857, at Her Majesty's Theatre, as Fernando in La favorita, with Mlle Spezia and Sig.

Antonio Giuglini took the London palms, and was immediately approved by the London audience.

Antonio Giuglini joined an already celebrated company which included artists such as Maria Piccolomini, Marietta Alboni and Therese Tietjens.

La favorita was followed by La traviata with Mlle Piccolomini, and Antonio Giuglini was received with even greater excitement than before: and in I puritani, chosen for the debut of Angiolina Ortolani, he stole the laurels from his partner.

Antonio Giuglini's Edgardo in Lucia di Lammermoor, with Piccolomini, was a further sensation:.

Tietjens and Antonio Giuglini next sang Il trovatore, and both productions, attended by the Queen and court, had wildly enthusiastic receptions.

At Drury Lane in July 1859 Antonio Giuglini created the role of Arrigo in the first London production of Verdi's Les vepres siciliennes, opposite Tietjens.

Antonio Giuglini again sang The Bohemian Girl, this time with Santley, Vialetti and Louisa Pyne.

In 1864, Tietjens and Antonio Giuglini performed Lucrezia Borgia at Her Majesty's, in the gala performance in the presence of Garibaldi, and surpassed themselves.

Antonio Giuglini was Vincenzo in Gounod's Mireille, in a fight scene of which, owing to insufficient rehearsal, he received a resounding blow on the head from Santley, playing Ourrias.

Late in 1864 Antonio Giuglini accepted an engagement for a season in St Petersburg, but arrived to find that he was not required for Faust as Enrico Tamberlik had contrived to take that role.

Antonio Giuglini returned to London in spring 1865, where Mapleson awaited him for a Dublin tour.

At home in Welbeck Street, Antonio Giuglini sat eating oysters and refused to put on his trousers.

Antonio Giuglini's condition deteriorated, and having made a sea voyage to Italy that autumn for his health, he died at Pesaro.

Antonio Giuglini was often prey to unscrupulous young women who used their charms to play on his sensitive nature to bring him under their influence.

Antonio Giuglini was very fond of flying kites, which he often did in the Brompton Road at the risk of being crushed to death by passing omnibuses, and became known to the drivers who indulgently avoided him.

Antonio Giuglini had come to be a considerable adept in fire work-making.

Antonio Giuglini himself was a cigar-smoker, and enjoyed gossip and conspiracy among his companions.

Mrs Windham was very attached to Antonio 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.

Antonio Giuglini 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.