that he was making a little fortune, and he now transferred his musical
property for a large consideration to Signor Crevelli, the director of
La Scala at Milan. Here Julia Grisi met Pasta, whom she worshiped as a
model of all that was grand and noble in the lyric art. Pasta declared,
"I can honestly return to you the compliments paid me by your aunt, and
say that I believe you are worthy to succeed us." Here she enjoyed
the advantage of studying the great lyric tragedienne, with whom she
occasionally performed: not a look, a tone, a gesture of her great model
escaped her. She was given the part of _Jane Seymour_ in Donizetti's
"Anna Bolena," which she looked and acted to perfection, Pasta
personating the unfortunate Queen. Madame Pasta, struck with the genius
displayed by her young rival, exclaimed: "_Tu iras loin! tu prendras ma
place! tu seras Pasta!_" Bellini, who was then in Milan, engaged in
the composition of his "Norma," overwhelmed her with applause and
congratulations, intermingled with allusions to the part he had in
contemplation for her--that of _Adalgiza_.

In November, 1831, there was a strenuous rivalry between the two
theatres of Milan, La Scala and the Carcano. The vocal company at the
latter comprised Pasta, Lina Koser (now Mme. Balfe), Elisa Orlandi,
Eugénie Martinet, and other ladies; Kubini, Mariani, and Galli being
the leading male singers. The composers were Bellini, Donizetti, and
Majocchi. At the Scala, which was still under the direction of Crivelli,
then a very old man, were Giulietta Grisi, Amalia Schütz, and Pisaroni,
with Mari, Bonfigli, Pocchini, Anbaldi, etc. To this company Giuditta
Grisi was added, and a new opera by Coccia, entitled "Enrico di
Montfort," was produced, in which both the sisters appeared. The company
at the Scala received an accession from the rival theatre, the great
Pasta, and soon afterward Donzelli, who ranked among the foremost tenors
of the age.