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.

On 26 December 1855 he appeared at Teatro Regio di Parma in the first performance of Giovanna de Guzman, the first Italian version of Verdi's Les vêpres siciliennes.

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.

This house was in competition with the newly rebuilt Covent Garden theatre, where Giulia Grisi and Mario led the cast and the box-office under Michael Costa for Frederick Gye.

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.

[10] 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 Les Huguenots.

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

Vialetti in Il trovatore were alternated with George Alexander Macfarren's Robin Hood, starring Helen Lemmens-Sherrington (her début), John Sims Reeves and Charles Santley.

Verdi's Cantata, rejected for the opening of the 1862 London Exhibition, was performed, and productions of Semiramide, Oberon, Robert le Diable, Lucrezia Borgia and Il trovatore followed.

However, during a breakdown in a series of Il trovatore, owing to the indisposition of the contralto, Mapleson was obliged to stage Norma 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 advantage, and without the drumstick.

[21] The 1863 season opened with Il trovatore, and in May was the premiere of Schira's opera Niccolo de' Lapi with Giuglini as Lamberto, Tietjens, Zélia Trebelli and Santley.

[26] They led the cast in a new production of The Merry Wives of Windsor of Nicolai (as Mistress Ford and Fenton), with Bettini, Gassier, Santley and Caroline Bettelheim, which ran for many nights.

Giuglini was also 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.

[27] Late in 1864 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.

When at the end of his contract a sum was 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.

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.

He had come to be a considerable adept in fire work-making..."[31] 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.

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 perfect, which everyone who heard him in 'I Puritani', 'Faust', 'Lucrezia Borgia', and many other operas, will readily admit.