al rewards. Her first appearance
in London after her marriage was with Rubini and Tamburini in the opera
of "Semiramide," speedily followed by a performance of _Donna Anna_, in
"Don Giovanni." The excitement of the public in its eager anticipation
of the latter opera was wrought to the highest pitch. A great throng
pressed against both entrances of the theatre for hours before the
opening of the doors, and many ladies were severely bruised or fainted
in the crush. It was estimated that more than four thousand persons were
present on this occasion. The cast was a magnificent one. Mme. Grisi was
supported by Mmes. Persiani and Albertazzi, and Tamburini, Lablache, and
Rubini. This was hailed as one of the great gala nights in the musical
records of London, and it is said that only a few years ago old
connoisseurs still talked of it as something incomparable, in spite of
the gifted singers who had since illustrated the lyric art. Mme. Pasta,
who occupied a stage box, led the applause whenever her beautiful young
rival appeared, and Grisi, her eyes glowing with happy tears, went to
Pasta's box to thank the queen of lyric tragedy for her cordial homage.

"Don Giovanni" was performed with the same cast in January, 1838, at the
Theatre Italiens. About an hour after the close of the performance the
building was discovered to be on fire, and it was soon reduced to a heap
of glowing ashes. Severini, one of the directors, leaped from an upper
story, and was instantly dashed to pieces, and Robert narrowly saved
himself by aid of a rope ladder. Rossini, who had an apartment in the
opera-house, was absent, but the whole of his musical library, valued at
two hundred thousand francs, was destroyed, with many rare manuscripts,
which no effort or expense could replace.

III.

Mme. Grisi, more than any other prima donna who ever lived, was
habitually associated in her professional life with the greatest singers
of the other sex. Among those names which are inseparable from hers, are
those of Rubini, Tamburini, Lablache, and, _par excellence_, that of
Mario. Any satisfactory sketch of her life and artistic surroundings
would be incomplete without something more than a passing notice of
these shining lights of the lyric art. Giambattista Rubini, without
a shred of dramatic genius, raised himself to the very first place in
contemporary estimation by sheer genius as a singer, for his musical
skill was something more than the outcome of mer