bran,
was alike flattering testimony to her own rising genius and
Rossini's penetration. She appeared first before a French audience in
"_Semiramide_," and at once became a favorite. During the season of
six months she succeeded in establishing her place as one of the most
brilliant singers of the age. She sang in cooperation with many of the
foremost artists whose names are among the great traditions of the art.
In "Don Giovanni," Rubini and Tamburini appeared with her; in "Anna
Bolena," Mme. Tadolini, Santini, and Rubini. Even in Pasta's own great
characters, where Mlle. Grisi was measured against the greatest lyric
tragedienne of the age, the critics, keen to probe the weak spot of new
aspirants, found points of favorable comparison in Grisi's favor. During
this year, 1832, both Giuditta and Giulia Grisi retired from the stage,
the former to marry an Italian gentleman of wealth, and the latter to
devote a period to rest and study.

When Giulia reappeared on the French stage the following year, a
wonderful improvement in the breadth and finish of her art was noticed.
She had so improved her leisure that she had eradicated certain
minor faults of vocal delivery, and stood confessed a symmetrical and
splendidly equipped artist. Her performances during the year 1833 in
Paris embraced a great variety of characters, and in different styles
of music, in all of which she was the recipient of the most cordial
admiration.

The production of Bellini's last opera, "I Puritani," in 1834, was one
of the great musical events of the age, not solely in virtue of the
beauty of the work, but on account of the very remarkable quartet
which embodied the principal characters--Grisi, Rubini, Tamburini, and
La-blache. This quartet continued in its perfection for many years,
with the after-substitution of Mario for Rubini, and was one of the
most notable and interesting facts in the history of operatic music.
Bellini's extraordinary skill in writing music for the voice was never
more noticeably shown than in this opera. In conducting the rehearsals,
he compelled the singers to execute after his style. It is recorded
that, while Rubini was rehearsing the tenor part, the composer cried out
in a rage: "You put no life into the music. Show some feeling. Don't you
know what love is?" Then, changing his voice: "Don't you know your
voice is a gold-mine that has never been explored? You are an excellent
artist, but that is not enough. You must for