for it was otherwise almost impossible to secure a vocalist of talent
at short notice. A deputation of M. Fournier's friends, among whom were
those well acquainted with the Tacchinardi family, formed an embassy to
represent the urgent need of the composer and implore the aid of Mme.
Persiani. With some difficulty the consent of husband and father was
obtained, and the young singer made her _début_ in the opera of the
merchant-musician. Mme. Persiani said in after-years that, had her
attempt been a successful one, it was very doubtful if she ever would
have pursued the profession of the stage. But her performance came
very near to being a failure. Her pride was so stung and her vanity
humiliated that she would not listen to the commands of husband and
father. She would become a great lyric artist, or else satisfy herself
that she _could_ not become one. The turning-point of her life had come.

She found an engagement at the La Scala, Milan, and she speedily laid a
good foundation for her future renown. She sang at Florence with
Duprez, and Donizetti, who was then in the city, composed his "Rosmonda
d'Inghilterra" for these artists. For two years there was nothing of
specially important note in Mme. Persiani's life except a swift and
steady progress. An engagement at Vienna made her the pet of that city,
which is fanatical in its musical enthusiasm, and we next find her back
again in Italy, singing greatly to the satisfaction of the public in
such operas as "Romeo e Giulietta," "Il Pirata," "La Gazza Ladra,"
and "L'Elisir d'Amore." Mme. Pasta was singing in Venice when Persiani
visited that city, and the latter did not hesitate to enter into
competition with her illustrious rival. Indeed, the complimentary
Venetians called her "la petite Pasta," though the character of her
talent was entirely alien to that of the great tragedienne of music.
Milan and Rome reechoed the voice of other cities, and during her stay
in Rome she appeared in two new operas, "Misantropia e Pentimento" and