PAULINE VIARDOT.

Vicissitudes of the Garcia Family.—­Pauline Viardot’s Early Training.—­Indications of her Musical Genius.—­She becomes a Pupil of Liszt on the Piano.—­Pauline Garcia practically self-trained as a Vocalist.—­Her Remarkable Accomplishments.—­Her First Appearance before the Public with De Beriot in Concert.—­She makes her Debut in London as Desdemona.—­Contemporary Opinions of her Powers.—­Description of Pauline Garcia’s Voice and the Character of her Art.—­The Originality of her Genius.—­Pauline Garcia marries M. Viardot, a Well-known Litterateur.—­A Tour through Southern Europe.—­She creates a Distinct Place for herself in the Musical Art.—­Great Enthusiasm in Germany over her Singing.—­The Richness of her Art Resources.—­Sketches of the Tenors, Nourrit and Duprez, and of the Great Barytone, Ronconi.—­Mme. Viardot and the Music of Meyerbeer.—­Her Creation of the Part of Fides in “Le Prophete,” the Crowning Work of a Great Career.—­Retirement from the Stage.—­High Position in Private Life.—­Connection with the French Conservatoire

FANNY PERSIANI.

The Tenor Singer Tacchinardi.—­An Exquisite Voice and Deformed Physique.—­Early Talent shown by his Daughter Fanny.—­His Aversion to her entering on the Stage Life.—­Her Marriage to M. Persiani.—­The Incident which launched Fanny Persiani on the Stage.—­Rapid Success as a Singer.—­Donizetti writes one of his Great Operas for her.—­Personnel, Voice, and Artistic Style of Mme. Persiani.—­One of the Greatest Executants who ever lived.—­Anecdotes of her Italian Tours.—­First Appearance in Paris and London.—­A Tour through Belgium with Ru-bini.—­Anecdote of Prince Metternich.—­Further Studies of Persiani’s Characteristics as a Singer.—­Donizetti composes Another Opera for her.—­Her Prosperous Career and retirement from the Stage.—­Last Appearance in Paris for Mario’s Benefit

MARIETTA ALBONI.

The Greatest of Contraltos.—­Marietta Alboni’s Early Surroundings.—­Rossini’s Interest in her Career.—­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 Paris.—­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.—­She competes favorably in London with Grisi, Persiani, and Viardot.—­Takes the Place of Jenny Lind as Prima Donna at Her Majesty’s.—­She extends her Voice into the Soprano Register.—­Performs “Fides” in “Le Prophete.”—­Visit to America.—­Retires from the Stage

JENNY LIND.