Her appearance as _Norma_ in December, 1834, stamped this henceforth as
her greatest performance. "In this character, Grisi," says a writer in
the "Musical World," "is not to be approached, for all those attributes
which have given her her best distinction are displayed therein in their
fullest splendor. Her singing may be rivaled, but hardly her embodiment
of ungovernable and vindictive emotion. There are certain parts in the
lyric drama of Italy this fine artiste has made her own: this is one
of the most striking, and we have a faith in its unreachable
superiority--in its completeness as a whole--that is not to be
disturbed. Her delivery of 'Casta Diva' is a transcendent effort
of vocalization. In the scene where she discovers the treachery of
_Pollio_, and discharges upon his guilty head a torrent of withering and
indignant reproof, she exhibits a power, bordering on the sublime, which
belongs exclusively to her, giving to the character of the insulted
priestess a dramatic importance which would be remarkable even if
entirely separated from the vocal preeminence with which it is allied.
But, in all its aspects, the performance is as near perfection as rare
and exalted genius can make it, and the singing of the actress and the
acting of the singer are alike conspicuous for excellence and power.
Whether in depicting the quiet repose of love, the agony of abused
confidence, the infuriate resentment of jealousy, or the influence
of feminine piety, there is always the best reason for admiration,
accompanied in the more tragic moments with that sentiment of awe which
greatness of conception and vigor of execution could alone suggest."

Mr. Chorley writes, in his "Musical Reminiscences": "Though naturally
enough in some respects inexperienced on her first appearance in
England, Giulia Grisi was not incomplete. And what a soprano voice was
hers! rich, sweet; equal throughout its compass of two octaves (from