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As Sontag was bound to expire in loving proximity to her, and was, I take it, much less liable to spontaneous inspiration than her fiery rival, this was by no means satisfactory. She had nothing like the original genius of the other woman, but was nevertheless a more perfect artist.

The programme consisted of the Overture Weihe des Hauses, as well as the Kyrie, Credo and Agnus Dei of the Mass in D, and the Ninth Symphony. The solo parts were taken by Madame Sontag and Fräulein Unger, who protested more than once at the unsingable nature of some of the parts in the Choral Finale when practising them at Beethoven's house. The applause from the very beginning was phenomenal.

At any rate, when he got back to New York in the fall, he was rather torpid; perhaps he had been growing too fast. From this adolescent drowsiness the lad was awakened by two voices, by two women who sang in New York in 1851, Jenny Lind and Henrietta Sontag. They were the first great artists he had ever heard, and he never forgot his debt to them.

At the close of the season of 1850 Mme. Sontag went to Paris with Mr. Lumley, who took the Théâtre Italien, and she was warmly welcomed by her French audiences. "Even amid the loud applause with which the crowd greeted her appearance on the stage," says a French writer, "it was easy to distinguish the respect which was entertained for the virtuous lady, the devoted wife and mother."

"I'll just unbutton my Sontag, or I shan't feel the good of it when I go out again, shall I?" "I have been thinking," said Mrs. Rolleston, to whom it had just occurred that this would be a good break in Jack's attentions, "that it would be very nice if Bluebell went home for a few days, as you have seen so little of her." "I'm sure I'm most grateful," said the little lady.

"Good!" said Patty, draping the curtain round her shoulders, sontag fashion. "These are fine. Now, see, I'm getting your dress quite fluffy again." "So you are. I'll finish it, and you do your own. Aren't you going to bed, Patty?" "No, not exactly. Suppose we sleep here. You take the couch, and I'll doze in this big armchair." "Are you are you frightened, Patty?" "N no; NO! Of course I'm not!

Malibran's first appearance in the Grand Opéra at Paris was for the benefit of Mme. Galli, in "Semiramide." It was a terrible ordeal, for she had such great stars as Pasta and Sontag to compete with, and she was treading a classic stage, with which the memories of all the great names in the lyric art were connected.

Sontag was her rival, Pasta was yet in the height of her fame, but no contrasts whatever dimmed the glory of Malibran. A rare personal charm added to her artistic graces. Mr.

Her young days in the orchestra at Nantes had accustomed her to public life, and the poverty and trial she had gone through served as good ballast to keep her steady when riding on the topmost wave of success. The tour ended at New Orleans with even greater triumphs. Camilla appeared eighteen times in company with Madam Sontag and each concert was a perfect success in every sense.

So great was this distinguished singer's admiration of the young girl's talents that she said, "Had I her voice I should hold the whole world at my feet." Mlle. Sontag had the advantage at this period of singing with great artists who took much interest in her career and gave her valuable hints and help.