ese rare and precious qualities combined to give to
the enchanting accents of this artist a charm of which it is impossible
to give an idea.

At each scene the interest he inspired became more marked, until in the
third act the emotion and delight of the spectator were carried almost to
frenzy. In this act, played almost solely by Crescentini, this admirable
singer communicated to the hearts of his audience all that is touching
and, pathetic in a love expressed by means of delicious melody, and by
all that grief and despair can find sublime in song.

The Emperor was enraptured, and sent Crescentini a considerable
compensation, accompanied by most flattering testimonials of the pleasure
he had felt in hearing him.

On this day, as always when they played together afterwards, Crescentini
was admirably supported by Madame Grassini, a woman of superior talent,
and who possessed the most astonishing voice ever heard in the theater.
She and Madame Barilli then divided the admiration of the public.

The very evening or the day after the debut of Crescentini, the French
stage suffered an irreparable loss in the death of Dazincourt, only sixty
years of age. The illness of which he died had begun on his return from
Erfurt, and was long and painful; and yet the public, to whom this great
comedian had so long given such pleasure, took no notice of him after it
was found his sickness was incurable and his death certain. Formerly
when a highly esteemed actor was kept from his place for some time by
illness (and who deserved more esteem than Dazincourt?), the pit was
accustomed to testify its regret by inquiring every day as to the
condition of the afflicted one, and at the end of each representation the
actor whose duty it was to announce the play for the next day gave the
audience news of his comrade. This was not done for Dazincourt, and the
pit thus showed ingratitude to him.

I liked and esteemed sincerely Dazincourt, whose acquaintance I had made
several years before his death; and few men better deserved or so well
knew how to gain esteem and affection. I will not speak of his genius,
which rendered him a worthy successor of Preville, whose pupil and
friend he was, for all his contemporaries remember Figaro as played by
Dazincourt; but I will speak of the nobility of his character, of his
generosity, and his well-tested honor. It would seem that his birth and
education should have kept him from the theater, where circumstan