Her parents resolved that Giulia should have regular lessons in singing; and she entered the Conservatory of her native town, where her sister had also obtained her musical training.  The early talent she developed, under the direction of the composer Marliani, was remarkable.  That she might continue her studies uninterruptedly, she was sent to Bologna, to her uncle, Colonel Ragani, husband of Grassini, by whom she was put under the care of the learned Giacomo Guglielmi, son of the celebrated composer, who during three years devoted himself entirely to her musical education.  Gradually the lovely quality of her voice began to be manifest, and its original blemishes disappeared, her tones acquiring depth, power, and richness.

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.  Giulia Grisi was remarkably apt and receptive, and gifted with great musical intelligence, and she profited by her masters in an exceptional degree.  Industry cooperated with talent to so advance her attainments that her sister Giuditta succeeded in the year 1828 in securing her debut in Rossini’s “Elmira,” at Bologna.  The part was a small one, but the youth, loveliness, and freshness of voice displayed by the young singer secured for her a decided triumph.  Rossini, who was then at Bologna, was delighted with Giulia Grisi, and predicted a great career for her, and Giuditta shed tears of joy over her beloved protegee.  The director of the theatre engaged her immediately for the carnival season, and in 1829 she appeared as prima donna in many operas, among which were “Il Barbiere,” “Towaldo e Dorliska,” and “La Sposa di Provincia,” the latter of which was expressly written for her by Millotatti.

Our young singer, like many another brilliant cantatrice, in the very dawn of her great career fell into the nets of a shrewd and unprincipled operatic speculator.  Signor Lanari, an impressario of Florence, recognized the future success of the inexperienced young girl, and decoyed her into an engagement for six years on terms shamefully low, for Giulia’s modesty did not appreciate her own remarkable powers.  Alone and without competent advisers, she fell an easy prey to the sharp-witted farmer of other people’s genius.  Among the operas which she sung in at this early period under Lanari’s management were Bellini’s “I Montecchi ed i Capuletti,” which the composer had just written for her sister Giuditta at Venice; “Il Barbiere,” and “Giulietta e Romeo,” written by Vaccai.  She was pronounced by the Italians the most fascinating Juliet ever seen on the stage.  At Bologna her triumph was no less great, and she became the general topic of discussion and admiration.  Lanari was so profiting by his stroke of sharp business that