From what has been said of Rubini’s lack of dramatic talent, it may be rightfully inferred, as was the fact, that he had but little power in musical declamation.  Rubini was always remembered by his songs, and though the extravagance of embroidery, the roulades and cadenzas with which he ornamented them, oftentimes raised a question as to his taste, the exquisite pathos and simplicity with which he could sing when he elected were incomparable.  This artist was often tempted by his own transcendant powers of execution to do things which true criticism would condemn, but the ease with which he overcame the greatest vocal difficulties excused for his admirers the superabundance of these displays.  In addition to the great finish of his art, his geniality of expression was not to be resisted.  He so thoroughly and intensely enjoyed his own singing that he communicated this persuasion to his audiences.  Rubini would merely walk through a large portion of an opera with indifference, but, when his chosen moment arrived, there were such passion, fervor, and putting forth of consummate vocal art and emotion that his hearers hung breathless on the notes of his voice.  As the singer of a song in opera, no one, according to his contemporaries, ever equaled him.  According to Chorley, his “songs did not so much create a success for him as an ecstasy of delight in those that heard him.  The mixture of musical finish with excitement which they displayed has never been equaled within such limits or on such conditions as the career of Rubini afforded.  He ruled the stage by the mere art of singing more completely than any one—­man or woman—­has been able to do in my time.”  Rubini died in 1852, and left behind him one of the largest fortunes ever amassed on the stage.

Another member of the celebrated “Puritani” quartet was Signor Tamburini.  His voice was a bass in quality, with a barytone range of two octaves, from F to F, rich, sweet, extensive, and even.  His powers of execution were great, and the flexibility with which he used his voice could only be likened to the facility of a skillful ’cello performer.  He combined largeness of style, truth of accent, florid embellishment, and solidity.  His acting, alike in tragedy and comedy, was spirited and judicious, though it lacked the irresistible strokes of spontaneous genius, the flashes of passion, or rich drollery which made Lablache so grand an actor, or, in a later time, redeemed the vocal imperfections of Ronconi.  An amusing instance of Taniburini’s vocal skill and wealth of artistic resources, displayed in his youth, was highly characteristic of the man.  He was engaged at Palermo during the Carnival season of 1822, and on the last night the audience attended the theatre, inspired by the most riotous spirit of carnivalesque revelry.  Large numbers of them came armed with drums, trumpets, shovels, tin pans, and other charivari instruments.  Tamburini, finding himself utterly unable to make his ordinary basso