Great Singers, Second Series / Malibran To Titiens

stage-life is so exacting. For so long a time lasted the supremacy of Mme. Grisi, and it was justified by a remarkable combination of qua

he was giving the best she knew how to give-she satisfied even those who had received much deeper pleasure and had been impressed with much deeper emotion in the performances of others. I have never tired of Mme. Grisi during five-and-twenty years; but I have ne

by her more gifted sister, that her name is now only one of the traditions of that throng of talented and hard-working artists who have contributed much to the stability of the lyric stage, without adding to it any resplendent luster. Delicate health prevented the little Giulia from receiving any early musical training, but her own secret ambition caused her to learn the piano-forte, by her own efforts; and her enthusiastic attention, and attempt to imitate, while her sister was practicing solfeggi, clearly indicated the bent of her tastes. She soon astonished her family by the fluency

mposer Marliani, was remarkable. That she might continue her studies uninterruptedly, she was sent to Bologna, to her uncle, Colonel Ragani, husband of Grassini, by whom she was put under the care of the learned Giacomo Guglielmi, son of the ce

s in an exceptional degree. Industry cooperated with talent to so advance her attainments that her sister Giuditta succeeded in the year 1828 in securing her début in Rossini's "Elmira," at Bologna. The part was a small one, but the youth, loveliness, and freshness of voice displayed by the young singer secured for her a decided triumph. Rossini, who was then at Bologna, was delighted wit

Giuditta at Venice; "Il Barbiere," and "Giulietta e Romeo," written by Vaccai. She was pronounced by the Italians the most fascinating Juliet ever seen on the stage. At Bologna her triumph was no less great, and she became the general topic of discussion and admiration. Lanari was so profiting by his stroke of sharp business that he was making a little fortune, and he now transferred his musical property for a large consideration to Signor Crevelli, the director of La Scala at Milan. Here Julia Grisi met Pasta, whom she worshiped as a model of all that was grand and noble in the lyric art. Pasta declared, "I can honestly return to you the compliments paid me by your aunt, and say that I believ

g male singers. The composers were Bellini, Donizetti, and Majocchi. At the Scala, which was still under the direction of Crivelli, then a very old man, were Giulietta Grisi, Amalia Schütz, and Pisaroni, with Mari, Bonfigli, Pocchini, Anbaldi, etc. To this company Giuditta Grisi wa

h!" said the composer, impulsively, "I would leave all the rest and save 'Norma'"! With Pasta were associated Giulia Grisi in the r?le of Adalgiza, and Donzelli in Pollio. The singers rehearsed their parts con amore, and displayed so much intelligence and enthusiasm that Bellini was quite delighted. The first performance just escaped being a failure in spite of the anxious efforts of the singers. Donzelli's suave and charming exec

exclaimed to Bellini one night behind the scenes. "Wait twenty years, and we shall see." "I will play Norma in spite of you, and in

ch form the basis of a great renown. With astonishing ease she passed from Semiramid

Her father's repeated endeavors to obtain more reasonable terms for his daughter from Lanari proved fruitless. He urged that his daughter, having entered into the contract without his knowledge, and while she was a

and her aunt Mme. Grassini-Ragani were then domiciled. She confided her proposed escapade to her father and her old teacher Marliani, who assisted her to procure passports for herself and maid. Her journey was long and tedious,