II.

Garcia now conceived a project for establishing Italian opera in the
United States, and with characteristic daring he set sail for America
with a miserable company, of which the only talent consisted of his own
family, comprising himself, his son, daughter, and wife, Mme. Garcia
having been a fairly good artist in her youth. The first opera produced
was "Il Barbiere," on November 29, 1825, and this was speedily
followed by "Tancredi," "Otello," "Il Turco in Italia," "Don Giovanni,"
"Cenerentola," and two operas composed by Garcia himself--"L'Amante
Astuto," and "La Figlia dell' Aria," The young singer's success was of
extraordinary character, and New York, unaccustomed to Italian opera,
went into an ecstasy of admiration. Maria's charming voice and personal
fascination held the public spellbound, and her good nature in the
introduction of English songs, whenever called on by her admirers,
raised the delight of the opera-goers of the day to a wild enthusiasm.

The occurrence of the most unfortunate episode of her life at this time
was the fruitful source of much of the misery and eccentricity of her
after-career. M. François Eugène Malibran, a French merchant, engaged in
business in New York, fell passionately in love with the young singer,
and speedily laid his heart and fortune, which was supposed to be great,
at her feet. In spite of the fact that the suitor was fifty, and Maria
only seventeen, she was disposed to accept the offer, for she was sick
of her father's brutality, and the straits to which she was constantly
put by the exigencies of her dependent situation. Her heart had never
yet awakened to the sweetness of love, and the supposed great fortune
and lavish promises of M. Malibran dazzled her young imagination. Garcia
sternly refused his consent, and there were many violent scenes between