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He was not, under any circumstances, a man to speak of such things to a third person. Then, how did this Giuditta Astarita know what Matilde had said and done? It was not natural, and not natural meant supernatural supernatural meant the possibility of communication, and she had loved the dead man with all her big, sinful soul.
She laid the money upon the polished table, beside the volumes in their gilt bindings. "Very well," said Giuditta. "If you desire it, I thank you. If you should wish to come again, I am always to be found between ten and three o'clock." "I will come again," answered Matilde. She passed through the door while Giuditta held it open for her, and in the passage she was met by the one-eyed woman.
The corners were shadowy, and her eyes searched in them uneasily, and she would not turn her back upon them again and look out of the windows. Then the door opened noiselessly, and Giuditta Astarita entered, in her loose black silk gown, with her little bunch of charms against the evil eye, hanging by a chain from a button hole.
To this company Giuditta Grisi was added, and a new opera by Coccia, entitled "Enrico di Montfort," was produced, in which both the sisters appeared. The company at the Scala received an accession from the rival theatre, the great Pasta, and soon afterward Donzelli, who ranked among the foremost tenors of the age. Bellini had just completed "Norma," and it was to be produced at the Scala.
The handsome woman has her will leaving her everything if she dies." "But will they really kill her?" insisted Bosio, half breathless in his fear and nervous excitement. The spirit voice did not answer. In the silence Bosio heard Giuditta Astarita's breathing opposite to him. "Will they really kill her?" he asked again. Still there was silence, and Bosio held his breath.
He was certain that he had not heard the door open after she had drawn the curtains. He looked about the scantily furnished room, in search of some corner in which some third person might have been hidden. Giuditta Astarita's chronic smile was momentarily intensified. "There was no one else here," she said, answering his unspoken question. "You heard the spirit's voice through my ears."
Among the operas which she sung in at this early period under Lanari's management were Bellini's "I Montecchi ed i Capuletti," which the composer had just written for her sister Giuditta at Venice; "Il Barbiere," and "Giulietta e Romeo," written by Vaccai. She was pronounced by the Italians the most fascinating Juliet ever seen on the stage.
But the high-spirited Giulietta had now become too conscious of her own value to remain hampered by a contract which in its essence was fraudulent. She determined to break her bonds by flight to Paris, where her sister Giuditta and her aunt Mme. Grassini-Ragani were then domiciled.
There was nothing at all unnatural in the name or the profession, in Naples, where somnambulists are plentiful enough. And the name itself was a Neapolitan one, and by no means uncommon. The card, however, was white and clean, which argued either that Giuditta Astarita had not long been a professional clairvoyante, or else that she had recently changed her lodgings.
Schröder-De-vrient died February 9, 1860, at Cologne, and the following year her marble bust was placed in the Opera-House at Berlin. The Childhood of a Great Artist. Giulietta Grisi's Early Musical Training. Giuditta Grisi's Pride in the Talents of her Young Sister. Her Italian Début and Success. She escapes from a Managerial Taskmaster and takes Refuge in Paris.
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