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Updated: June 15, 2025
A pleasant incident, illustrating Alboni's kindness of heart, occurred on the eve of her departure for Italy, whither she was called by family reasons. Her leave-taking was so abrupt that she had almost forgotten her promise to sing in Paris on a certain date for the annual benefit of Filippo Galli, a superannuated musician.
Alboni's request, Sampson joined them; for there was something in the words which he had uttered, that struck upon that gentleman's ear; and yet, what it was, was not clear to his mind. "You have spoken of some noble lady," remarked Mr. Alboni; "pray tell me if you have never met with but one whom you could distinguish by that title, in all your travels?"
Delwood should accompany them. After disposing of Mr. Alboni's estates, and visiting the lions of the East, they would return, to make America their home; and it being left for Natalie to decide what spot should be chosen as their future home, she said, stealing a glance towards Clarence Delwood, "we will return to my mother's peaceful island home, for we can be happy here."
Her whole appearance, when she was singing, as was said by one enthusiastic amateur, conveyed the impression of exquisite music even when the sense of hearing was stopped. Alboni's figure, although large, was perfect in symmetry, graceful and commanding, and her features regularly beautiful, though better fitted for the expression of comedy than of tragedy.
First Appearance on the Operatic Stage. Excitement produced in Germany by her Singing. Her Independence of Character. Her Great Success in London. Description of her Voice and Person. Concerts in Taris. The Verdicts of the Great French Critics. Hector Berlioz on Alboni's Singing. She appears in Opera in Paris. Strange Indifference of the Audience quickly turned to Enthusiasm.
Alboni's triumph was instantaneous and complete; it was the greater from the moment of anxious uncertainty that preceded it, and made the certainty which succeeded more welcome and delightful. From this instant to the end of the opera, Alboni's success grew into a triumph.
Alboni's hands. He examined them closely; there were no initials, not the least mark whereby he might learn of that which was of such vast interest to him, when lo! he pressed the spring which had before yielded to Mrs. Grosvenor's touch, and behold! the same features which he had looked upon day by day, for twenty years, were revealed to him, the features of his Madonna his child!
Although her facility and taste in ornamentation were of the highest order, Alboni had so much reverence for the intentions of the composer, that she would rarely add anything to the music which she interpreted, and even in the operas of Rossini, where most singers take such extraordinary liberties with the score, it was Alboni's pride neither to add nor omit a note.
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