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Updated: June 10, 2025
Grisi was measured against the greatest lyric tragedienne of the age, the critics, keen to probe the weak spot of new aspirants, found points of favorable comparison in Grisi's favor. During this year, 1832, both Giuditta and Giulia Grisi retired from the stage, the former to marry an Italian gentleman of wealth, and the latter to devote a period to rest and study.
Bell-like in quality and ever true, this voice lacked feeling, and while it never failed to awaken unbounded enthusiasm, it rarely, if ever, brought a thrill of deeper emotion. Giuditta Pasta, who became the lyric Siddons of her age, began her career as an artist laboring under many disadvantages, for she lacked a graceful personality and possessed a voice of but moderate power and sweetness.
"Thou shalt be more than thy sister, my Giuliettina," she would exclaim. "Thou shalt be more than thy aunt! It is Giuditta tells thee so believe it." The only defect in Giulia's voice certainly a serious one was a chronic hoarseness, which seemed a bar to her advancement as a vocalist.
She had felt a sensation of relief when the voice had been unable to answer the last question she had asked; for she still thought that there might be a doubt as to Giuditta's total forgetfulness on waking. But that doubt was greatly diminished by the woman's indifferent and weary look. "I hope that he will not torment me so much after this," said Giuditta.
She soon astonished her family by the fluency and correctness with which she repeated the most difficult passages; and Giuditta, who appreciated these evidences of vocal and mimetic talent, would listen with delight to the lively efforts of her young sister, and then, clasping her fondly in her arms, prophesy that she would be "the glory of her race."
Giuditta was deeply interested in her young sister's budding talents, and finally took her from the Conservatory, and placed her under the tuition of Fillippo Celli, where she remained for three months, till the maestro was obliged to go to Rome to produce a new opera.
Then Giuditta spoke hoarsely. "The spirit is gone," she said. "He will not answer any more questions to-day." "Can you not call it back?" asked Bosio, anxiously, and peering into the blackness before him, as though hoping to see something. "No. When he is gone he never comes back for the same person. He answered you many things, Signore. You must have patience."
Is it about her that you wish to consult the spirits?" "Yes," said the spirit voice, before Bosio could answer. "You are afraid that they will murder her, if you do not marry her or if she will not marry you." Bosio uttered a loud exclamation of alarm and astonishment, for this was altogether beyond anything in his experience. "Is it so?" asked Giuditta Astarita. "Yes.
But when she had spoken to Gregorio, she would go out alone, on foot. And she knew that she should find the address given on Giuditta Astarita's card, and enter the house and see the woman who had written to her, and hear the message that was promised. If she left her own house, her feet must take her that way, whether she would or not. And so it all happened just as she foresaw.
"This is his answer," continued the voice. "He cannot come to you when you are alone, as yet. By and by he will come. But he watches over you. For the present he can only speak with you through Giuditta Astarita, who is now asleep." "Is she asleep?" asked Matilde. "She is in a trance," the voice replied. "I speak through her, but when she awakes, she will not know what I have said.
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