_maestro_ was obliged to go to Rome to produce a new opera. Giulia
Grisi was remarkably apt and receptive, and gifted with great musical
intelligence, and she profited by her masters in an exceptional degree.
Industry cooperated with talent to so advance her attainments that her
sister Giuditta succeeded in the year 1828 in securing her _début_ in
Rossini's "Elmira," at Bologna. The part was a small one, but the youth,
loveliness, and freshness of voice displayed by the young singer
secured for her a decided triumph. Rossini, who was then at Bologna, was
delighted with Giulia Grisi, and predicted a great career for her, and
Giuditta shed tears of joy over her beloved _protégée_. The director of
the theatre engaged her immediately for the carnival season, and in
1829 she appeared as prima donna in many operas, among which were "Il
Barbiere," "Towaldo e Dorliska," and "La Sposa di Provincia," the latter
of which was expressly written for her by Millotatti.

Our young singer, like many another brilliant cantatrice, in the very
dawn of her great career fell into the nets of a shrewd and unprincipled
operatic speculator. Signor Lanari, an _impressario_ of Florence,
recognized the future success of the inexperienced young girl, and
decoyed her into an engagement for six years on terms shamefully low,
for Giulia's modesty did not appreciate her own remarkable powers.
Alone and without competent advisers, she fell an easy prey to the
sharp-witted farmer of other people's genius. Among the operas which she
sung in at this early period under Lanari's management were Bellini's "I
Montecchi ed i Capuletti," which the composer had just written for her
sister Giuditta at Venice; "Il Barbiere," and "Giulietta e Romeo,"
written by Vaccai. She was pronounced by the Italians the most
fascinating _Juliet_ ever seen on the stage. At Bologna her triumph
was no less great, and she became the general topic of discussion and
admiration. Lanari was so profiting by his stroke of sharp business