r Marie made her _debut_ in Thalberg's _Florinda_, in July,
with Sophie. She was a graceful and charming contralto; but her timidity
and an over-delicacy of expression did not permit her then to display
her talents to the greatest advantage. The brother of the sisters
Cruvelli was a fine barytone.

III.

At the close of 1851 Sophie went again to the Theatre Italien, and the
following year she again returned to London to sing with Lablache
and Gardoni. During this season she performed in "La Sonnambula," "Il
Barbiere," and other operas of the florid Italian school, charming
the public by her lyric comedy, as she had inspired them by her tragic
impersonations. Cruvelli had always been remarkable for impulsive and
eccentric ways, and no engagement ever operated as a check on these
caprices. One of these whims seized the young lady in the very height of
a brilliantly successful engagement, and one day she took French leave
without a word of warning. The next that was heard of Sophie Cruvelli
was that she was singing at Wiesbaden, and then that she had appeared
as _Fides_ in "Le Prophete" at Aix-La-Chapelle. Cruel rumors were
circulated at her expense; but she showed herself as independent of
scandal as she had been of professional loyalty to a contract.

Sophie Cruvelli's engagement at the Grand Opera in Paris in January,
1854, filled Paris with the deepest excitement, for she was to make
her appearance in the part of _Valentine_ in "Les Huguenots." The terms
given were one hundred thousand francs for six months. Meyerbeer, who
entertained a great admiration for Sophie's talents, set to work
on "L'Africaine" with redoubled zeal, for he destined the _role_ of
_Selika_ for her. A fortnight ahead orchestra stalls were sold for two
hundred francs, and boxes could not be obtained. The house was crowded
to the ceiling, and the Emperor and Empress arrived some time before
the hour of beginning on the night of "Les Huguenots." Everywhere
the lorgnette was turned could be seen the faces of notabilities like
Meyerbeer, Auber, Benedict, Berlioz, Alboni, Mme. Viardot, Mario,
Tamburini, Vivire, Theophile Gautier, Fiorentino, and others. The
verdict was that Cruvelli was one of the greatest of _Valentines_, and
Meyerbeer, who was morbidly sensitive over the performance of his
own works, expressed his admiration of the great singer in the most
enthusiastic words.

Soon after this, she appeared as _Julia_ in Spontini's "Vestale," and