gned to her the preeminence, and
execution even now in nearly equal perfection."

M. Viardot, a well-known French _litterateur_, was then director of the
Italian Opera in Paris, and he came to London to hear the new singer--in
whom he naturally felt a warm interest, as he had been an intimate
personal friend of Mme. Malibran. He was so delighted that he offered
her the position of prima donna for the approaching season, but
the timidity of the young girl of eighteen shrank from such a
responsibility, and she would only bind herself to appear for a few
nights. The French public felt a strong curiosity to hear the sister
of Mali-bran, and it was richly rewarded, for the magnificent style
in which she sang her parts in "Otello," "La Cenerentola," and "Il
Barbiere" stamped her position as that not only of a great singer, but a
woman of genius. The audacity and wealth of resource which she displayed
on the first representation of the latter-named opera wore worthy of
the daughter of Garcia and the sister of Malibran, Very imperfectly
acquainted with the music, she forgot an important part of the score.
Without any embarrassment, she instantly improvised not merely the
ornament, but the melody, pouring out a flood of dazzling vocalization
which elicited noisy enthusiasm. It was not Rossini's "Il Barbiere," but
it was successful in arousing a most flattering approbation. It may be
fancied, however, that, when she sang the _role_ of _Rosina_ a second
time, she knew the music as Rossini wrote it.

III.

Mlle. Garcia was now fairly embarked on the hereditary profession of her
family, and with every prospect of a brilliant career, for never had a
singer at the very outset so signally impressed herself on the public
judgment, not only as a thoroughly equipped artist, but as a woman
of original genius. But she temporarily retired from the stage in
consequence of her marriage with M. Viardot, who had fallen deeply in
love with the fascinating cantatrice, shortly after his introduction to
her. The bridegroom resigned his position as manager of the Opera, and
the newly married couple, shortly after their nuptials in the spring of
1840, proceeded to Italy, M. Viardot being intrusted with an important
mission relative to the fine arts. Mme. Viardot did not return to the
stage till the spring of the following year. After a short season in
London, in which she made a deep and abiding impression, in the part of
_Orazia_ ("Gli Orazi ed