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rs of the lamented Malibran, that tears rolled down their cheeks, yet there was something radically different withal peculiar to the singer. This singular resemblance led to a curious incident afterward in Paris. A young lady was taking a music-lesson from Lablache, who had lodgings in the same house with Mlle. Garcia. The basso was explaining the manner in which Malibran gave the air they were practicing. Just then a voice was heard in the adjoining room singing the cavatina--the voice of Mdlle. Garcia. The young girl was struck with a fit of superstitious terror as if she had seen a phantom, and fainted away on her seat. Yet in person there was but a slight resemblance between the two sisters. Pauline had a tall, slender figure in her youth, and her physiognomy, Jewish in its cast, though noble and expressive, was so far from being handsome that when at rest the features were almost harsh in their irregularity. But, as in the case of many plain women, emotion and sensibility would quickly transfigure her face into a marvelous beauty and fascination, far beyond the loveliness of line and tint. Her forehead was broad and intellectual, the hair jet-black, the complexion pale, the large, black eyes ardent and full of fire. Her carriage was singularly majestic and easy, and a conscious nobility gave her bearing a loftiness which impressed all beholders. Her singing and acting in _Desdemona_ made a marked sensation. Though her powers were still immature, she flooded the house with a stream of clear, sweet, rich melody, with the apparent ease of a bird. Undismayed by the traditions of Mali-bran, Pasta, and Sontag in this character, she gave the part a new reading, in which she put something of her own intense individuality. "By the firmness of her step, and the general confidence of her deportment," said a contemporary writer, "we were at first induced to believe that she was not nervous; but the improvement of every succeeding song, and the warmth with which she gave the latter part of the opera, convinced us that her power must have been confined by something like apprehension." Kubini was the _Otello_, Tamburini, _Iago_, and Lablache, _Elmiro_. Her performance in "La Cenerentola" confirmed the good opinion of the public. Her pure taste and perfect facility of execution were splendidly exhibited. "She has," said a critic, "more feeling than Mme. Cinti Da-moreau in the part in which the greater portion of Europe has assi
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