by the traditions of Mali-bran, Pasta, and Sontag in this character,
she gave the part a new reading, in which she put something of her own
intense individuality. "By the firmness of her step, and the general
confidence of her deportment," said a contemporary writer, "we were at
first induced to believe that she was not nervous; but the improvement
of every succeeding song, and the warmth with which she gave the latter
part of the opera, convinced us that her power must have been confined
by something like apprehension." Kubini was the _Otello_, Tamburini,
_Iago_, and Lablache, _Elmiro_. Her performance in "La Cenerentola"
confirmed the good opinion of the public. Her pure taste and perfect
facility of execution were splendidly exhibited. "She has," said a
critic, "more feeling than Mme. Cinti Da-moreau in the part in which
the greater portion of Europe has assigned to her the preeminence, and
execution even now in nearly equal perfection."

M. Viardot, a well-known French _littérateur_, was then director of the
Italian Opera in Paris, and he came to London to hear the new singer--in
whom he naturally felt a warm interest, as he had been an intimate
personal friend of Mme. Malibran. He was so delighted that he offered
her the position of prima donna for the approaching season, but
the timidity of the young girl of eighteen shrank from such a
responsibility, and she would only bind herself to appear for a few
nights. The French public felt a strong curiosity to hear the sister
of Mali-bran, and it was richly rewarded, for the magnificent style
in which she sang her parts in "Otello," "La Cenerentola," and "Il
Barbiere" stamped her position as that not only of a great singer, but a
woman of genius. The audacity and wealth of resource which she displayed
on the first representation of the latter-named opera wore worthy of
the daughter of Garcia and the sister of Malibran, Very imperfectly
acquainted with the music, she forgot an important part of the score.