The article explores the possibility of maintaining Russian rhythm in Italian translations, using Voznesenskii’s poem Goya as a case study. The starting point is Jurii Lotman’s thorough analysis of Goya in his Structure of the Artistic Text, here further enriched with an examination of the rhythmic level. Indeed, the amphibrach rhythm confirms and strengthens Lotman’s statements about concordance of the phonetic and semantic levels in the poem. Five Italian versions of the poem are then analyzed, focusing on the semantization of the phonetic and rhythmic levels: Ripellino’s translation (1961), two versions by Bernardini (1961, 2008), Kraiski’s translation, and the one published by Bazzarelli, Kelin and Schiaffino within the aforementioned text by Lotman Structure of the Artistic Text (1978). The article concludes with a new Italian translation into Italian amphibrachs by the author.