conjunction with Mario, Graziani, and Mme. Frezzolini, began performing
in the works of Verdi. "Il Trovatore" was performed in January, 1857,
and was followed by "Rigoletto," which was produced in defiance of the
protestations of Victor Hugo, from whose play, "Le Roi s'amuse," the
libretto had been taken. Victor Hugo declared that the representation of
the opera was an infringement of his rights, as being simply a piracy of
his drama, and he claimed that the Theatre Italiens should be restrained
from performing it. The decision of the court was, however, against the
irascible poet, and he had to pay the costs of the action.

But why should the reader be interested in a yearly record of the
engagements of a great singer, after the narrative of the early
struggles by which success is reached and the means by which success
is perpetuated has come to an end? The significance of such a recital
is that of ardent endeavor, persistent self-culture, and unflagging
resolution. Mme. Alboni continued to sing in the principal musical
centers of Western Europe till 1864, when she definitely retired from
the stage, and settled at her fine residence in Paris, midst the ease
and luxury which the large fortune she had acquired by professional
exertion enabled her to maintain. She occasionally appeared in opera and
concert to the great delight of her old admirers, who declared that the
youthful beauty and freshness of her voice had returned to her. Since
the death of her husband she has only sung in public once, and then in
Rossini's Mass, in London in 1871.

Both the husband and the brothers of Alboni were gallant soldiers in the
Italian war of independence, and received medals and other distinctions
from Victor Emanuel. Mme. Alboni in private life is said to be one of
the most amiable, warm-hearted, and fascinating of women, and to take
the deepest interest in helping the careers of young singers by advice,
influence, and pecuniary aid. In social life she is quite as much the
idol of her friends as she was for so many years of an admiring public.

JENNY LIND.

The Childhood of the "Swedish Nightingale."--Her First Musical
Instruction.--The Loss and Return of her Voice.--Jenny Lind's
Pupilage in Paris under Manuel Garcia.--She makes the Acquaintance of
Meyerbeer.--Great Success in Stockholm in "Robert le Diable."--Fredrika
Bremer and Hans Christian Andersen on the Young Singer.--Her _Debut_
in Berlin.--Becomes Prima Donna at t