Moscow, the highest recognition of her talents was shown alike by court
and people.

It was not till 1837 that Mme. Persiani ventured to make her first
appearance in Paris, a step which she took with much apprehension, for
she had an exaggerated notion of the captious-ness and coldness of the
French public. When she stepped on the stage, November 7th, the night of
her _début_ in "Sonnambula," she was so violently shaken by her emotions
that she could scarcely stand. The other singers were Rubini, Tamburini,
and Mlle. Allessandri, and the audience was of the utmost distinction,
including the foremost people in the art, literary, and social circles
of Paris. The _debutante_ was well received, but it was not until
she appeared in Cimarosa's "Il Matrimonio Segreto" that she was fully
appreciated. Rubini and Tamburini were with her in the cast, and the
same great artists participated also with her in the performance of
"Lucia," which set the final seal of her artistic won h in the
public estimate. She also appeared in London in the following year in
"Sonnambula." "It is no small risk to any vocalist to follow Malibran
and Grisi in a part which they both played so well," was the observation
of one critic, "and it is no small compliment to Persiani to say that
she succeeded in it." She had completely established herself as a
favorite with the London public before the end of the season, and
thereafter she continued to sing alternately in London and Paris for a
succession of years, sharing the applause of audiences with such artists
as Grisi, Viardot, Lablache, Tamburini, Rubini, and Mario.

A tour through Belgium and the Rhenish provinces, partly operatic,
partly concertizing, which she took with Rubini in the summer and fall
of 1841, was highly successful from the artistic point of view, and
replete with pleasant incidents, among which may be mentioned their