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Great Singers, Second Series - Malibran To Titiens by George T. (George Titus) Ferris
page 92 of 185 (49%)
Without any embarrassment, she instantly improvised not merely the
ornament, but the melody, pouring out a flood of dazzling vocalization
which elicited noisy enthusiasm. It was not Rossini's "Il Barbiere," but
it was successful in arousing a most flattering approbation. It may be
fancied, however, that, when she sang the _rĂ´le_ of _Rosina_ a second
time, she knew the music as Rossini wrote it.


III.

Mlle. Garcia was now fairly embarked on the hereditary profession of her
family, and with every prospect of a brilliant career, for never had a
singer at the very outset so signally impressed herself on the public
judgment, not only as a thoroughly equipped artist, but as a woman
of original genius. But she temporarily retired from the stage in
consequence of her marriage with M. Viardot, who had fallen deeply in
love with the fascinating cantatrice, shortly after his introduction to
her. The bridegroom resigned his position as manager of the Opera, and
the newly married couple, shortly after their nuptials in the spring of
1840, proceeded to Italy, M. Viardot being intrusted with an important
mission relative to the fine arts. Mme. Viardot did not return to the
stage till the spring of the following year. After a short season in
London, in which she made a deep and abiding impression, in the part of
_Orazia_ ("Gli Orazi ed i Curiazi"), and justified her right to wear the
crown of Pasta and Malibran, she was obliged by considerations of health
to return to the balmier climate of Southern Europe.

While traveling in Spain, the native land of her parents, she was
induced to sing in Madrid, where she was welcomed with all the warmth of
Spanish enthusiasm. Her amiability was displayed during her performance
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