persecuted her; but love of art was a further inducement which drew out
her kindliest feelings. The singer remained at the Viennese court
for two years, and left it for Paris, with autograph letters to the
ill-fated Marie Antoinette. She was most cordially welcomed both by
court and public, and soon became such a rival to the distinguished
Portuguese prima donna, Todi, then in the zenith of her fame, that the
devotees of music divided themselves into fierce factions respectively
named after the rival queens of song. Mara was honored with the title of
_première cantatrice de la reine_, and left Paris with regret, to begin
her English career under singularly favorable auspices, as she was
invited to share a partnership with Linley and Dr. Arnold for the
production of oratorios at Drury Lane.

She was fortunate in making her first appearance in the grand Handel
commemoration at Westminster Abbey, given under the patronage of George
III., who loved the memory of the great composer. Even in this day of
magnificent musical festivals, that Westminster assemblage of musicians
would have been a remarkable occasion. The following is an account of it
from a contemporary source: "The orchestra was led by the Cramers; the
conductors were Joah Bates, Dr. Arnold, and Dupuis. The band consisted
of several hundreds of performers. The singers were, in addition to
Mine. Mara, Signora Storace, Miss Abrams, Miss Poole (afterward Mrs.
Dickons), Rubinelli, Harrison, Bartleman, Sale, Parry, Nor-ris, Kelly,
etc.; and the chorus, collected from all parts of the kingdom, amounted
to hundreds of voices. The Abbey was arranged for the accommodation
of the public in a superb and commodious manner, and the tickets of
admission were one guinea each. The first performance took place on
May 20, 1784; and such was the anxiety to be in time, that ladies and
gentlemen had their hair dressed over night, and slept in arm-chairs.
The weather being very fine, eager crowds presented themselves at the