o
the scaffold, the conflicting emotions that agitate the bosom of the
heroine were pictured with wonderful truth and intensity by Mlle.
Titiens." From London the singer made a tour of the provinces, where she
repeated the remarkable successes of the capital. At the various musical
festivals, she created an almost unprecedented reputation in oratorio.
The largeness and dignity of her musical style, the perfection of a
voice which responded to every intention of the singer, her splendor
of declamation, stamped her as _par excellence_ the best interpreter of
this class of music whom England had heard in the more recent years of
her generation. Her fame increased every year, with the development
of her genius and artistic knowledge, and it may be asserted that no
singer, with the exception of Grisi, ever held such a place for a long
period of years in the estimate of the English public.

III.

During the season of 1860 she added fresh laurels to those which she
had already attained, and sang several new parts, among which maybe
mentioned Flotow's pretty ballad opera of "Martha" and Rossini's
"Semiramide." Her performance in the latter work created an almost
indescribable sensation, so great was her singing, so strong and
picturesque the dramatic effects which she produced. One of the
sensations of the season was Titiens's rendering of "Casta Diva," in
"Norma." Though many great vocalists had thrilled the public by their
rendering of this celebrated aria, no one had ever yet given it
the power so to excite the enthusiasm of the public. Mlle. Titiens
performed also in the opera of "Oberon" for the first time, with great
success. But the _piece de resistance_ of the season was Rossini's great
tragic opera. "In Titiens's _Semiramide_," said a critic of the time,
"her intellectuality shines most, from its contrasting with the part she
impersonates--a part which in no wise assists her; but, as in a picture,
shadow renders a light more striking. In the splendid aria, 'Bel
Raggio,' the _solfeggi_ and fioriture that she lavishes on the
audience were executed with such marvelous tone and precision that she
electrified the house. The grand duet with Alboni, 'Giorno d'orrore,'
was exquisitely and nobly impressive from their dramatic interpretation
of the scene."

In 1861 Mlle. Titiens made an engagement with Mr. Mapleson, under whose
control she remained till her career was cut short by death. Associated
with her under this firs