Artist.—Giulietta Grisi's Early Musical
Training.—Giuditta Grisi's Pride in the Talents of her Young
Sister.—Her Italian Début and Success.—She escapes from a Managerial
Taskmaster and takes Refuge in Paris.—Impression made on French
Audiences.—Production of Bellini's "Puritani."—Appearance before the
London Public.—Character of Grisi's Singing and Acting.—Anecdotes of
the Prima Donna.—Marriage of Mlle. Grisi.—Her Connection with
Other Distinguished Singers.—Kubini, his Character as an Artist, and
Incidents of his Life.—Tamburini, another Member of the First Great
"Puritani" Quartet.—Lablache, the King of Operatic Bassos.—His Career
as an Artist.—His Wonderful Genius as Singer and Actor.—Advent of
Mario on the Stage.—His Intimate Association with Mme. Grisi as
Woman and Artist.—Incidents of Mario's Life and Character as
an Artist.—Grisi's Long Hold on the Stage for more than a
Quarter-century.—Her American Tour.—Final Retirement from her
Profession.—The Elements of her Greatness as a Goddess of Song

PAULINE VIARDOT.

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 Bériot in Concert.—She makes her Début 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 Prophète," the Crowning Work of a Great Career.—Retirement from
the Stage.—High Position in Private Life.—Connection with the French
Conservatoire

FANNY PERSIANI.

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.

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 Prophète."—Visit to America.—Retires from the Stage

JENNY LIND.

JENNY LIND.
The Childhood of the "Swedish Nightingale."—Her First Musical
Instruction.—The Loss and Return of her Voice.—Jenny Lind's
Pupilage in Paris under Manuel Garcia.—She makes the Acquaintance of
Meyerbeer.—Great Sue-cess in Stockholm in "Robert le Diable."—Fredrika
Bremer and Hans Christian Andersen on the Young Singer.—Her Début
in Berlin.—Becomes Prima Donna at the Royal Theatre.—Beginning of
the Lind Enthusiasm that overran Europe.—She appears in Dresden in
Meyerbeer's New Opera, "Feldlager in Schliesen."—Offers throng in from
all the Leading Theatres of Europe.—The Grand Furore in Every Part
of Germany.—Description of Scenes in her Musical Progresses.—She makes
her Début in London.—Extraordinary Excitement of the English Public,
such as had never before been known.—Descriptions of her Singing
by Contemporary Critics.—Her Quality as an Actress.—Jenny Lind's
Personnel.—Scenes and Incidents of the "Lind" Mania.—Her Second
London Season.—Her Place and Character as a Lyric Artist.—Mlle.
Lind's American Tour.—Extraordinary Enthusiasm in America.—Her
Lavish Generosity.—She marries Herr Otto Goldschmidt.—Present Life of
Retirement in London.—Jenny Lind as a Public Benefactor

SOPHIE CRUVELLI.

SOPHIE CRUVELLI.
The Daughter of an Obscure German Pastor.—She studies Music in
Paris.—Failure of her Voice.—Makes her Début at La Fenice.—She
appears in London during the Lind Excitement.—Description of her
Voice and Person.—A Great Excitement over her Second Appearance
in Italy.—Début in Paris.—Her Grand Impersonation in
"Fidelio."—Critical Estimates of her Genius.—Sophie Cruvelli's
Eccentricities.—Excitement in Paris over her Valentine in "Les
Huguenots."—Different Performances in London and Paris.—She retires
from the Stage and marries Baron Vigier.—Her Professional Status.—One
of the Most Gifted Women of any Age

THERESA TITIENS.

Born at Hamburg of an Hungarian Family.—Her Early Musical
Training.—First Appearance in Opera in "Lucrezia Borgia."—Romance of
her Youth.—Rapid Extension of her Fame.—Receives a Congé from
Vienna to sing in England.—Description of Mlle. Titiens, her Voice,
and Artistic Style.—The Characters in which she was specially
eminent.—Opinions of the Critics.—Her Relative Standing in
the Operatic Profession.—Her Performances of Semi-ramide
and Medea.—Latter Years of her Career.—Her Artistic Tour in
America.—Her Death, and Estimate placed on her Genius

GREAT SINGERS, SECOND SERIES, MALIBRAN TO TITIENS.