During this season Mme. Sontag appeared in her favorite character of Rosina, with Lablache and Gardoni; she also performed Amina and Desdemona.  Had it not been that the attention of the public was absorbed by “the Swedish Nightingale” and the “glorious Alboni,” Mme. Sontag would have renewed the triumphs of 1828.  The next season she sang again at Her Majesty’s Theatre as Norina, Elvira ("I Puritani"), Zerlina, and Maria (in “La Figlia del Reggimento").  The chief novelty was “La Tempesta,” written by Scribe, and composed by Halevy expressly for Her Majesty’s Theatre, the drama having been translated into Italian from the French original.  It was got up with extraordinary splendor, and had a considerable run.  Mme. Sontag sang charmingly in the character of Miranda; but the greatest effect was created by Lablache’s magnificent impersonation of Caliban.  No small share of the success of the piece was due to the famous danseuse Carlotta Grisi, who seemed to take the most appropriate part ever designed for ballerina when she undertook to represent Ariel.

At the close of the season of 1850 Mme. Sontag went to Paris with Mr. Lumley, who took the Theatre 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.”

Before her acceptance of the offer to go to America, in 1852, she appeared in successive engagements at London, Vienna, and Berlin, where her reception was of the most satisfying nature both to the artist and the woman.  On her arrival in New York, on September 19th, she commenced a series of concerts with Salvi and Signo-ra Blangini.  At New York, Boston, Philadelphia, and the larger cities of the South, she quickly established herself as one of the greatest favorites who had ever sung in this country, in spite of the fact that people had hardly recovered from the Lind mania which had swept the country like wildfire, a fact apt to provoke petulant comparisons.  Her pecuniary returns from her American tour were very great, and she was enabled to buy a chateau and domain in Germany, a home which she was unfortunately destined never to enjoy.

In New Orleans, in 1854, she entered into an engagement with M. Masson, director of opera in the city of Mexico, to sing for a fixed period of two months, with the privilege of three months longer.  This was the closing appearance in opera, as she contemplated, for the task of reinstating her family fortunes was almost done.  Fate fulfilled her expectations with a malign sarcasm; for while her agent, M. Ullman, was absent in Europe gathering a company, Mme. Sontag was seized with cholera and died in a few hours, on June 17, 1854.  Such was the lamentable end of