composing his "Prophète." The dramatic conception of _Fides_, it may
be said in passing, was expressly designed for Pauline Viardot by the
composer, who had the most exalted esteem for her genius, both as a
musician and tragedienne. She was always a great favorite in Germany,
and Berlin and Vienna vied with each other in their admiration of this
gifted woman. In 1844 she stirred the greatest enthusiasm by singing at
Vienna with Ilonconi, a singer afterward frequently associated with her.

Perhaps at no period of her life, though, did Mme. Viardot create a
stronger feeling than when she appeared in Berlin in the spring of 1847
as _Rachel_ in Halévy's "La Juive." It was a German version, but the
singer was perfect mistress of the language, and though the music of
the opera was by no means well suited to the character of her voice,
its power as a dramatic performance and the passion of the singing
established a complete supremacy over all classes of hearers. The
exhibition on the part of this staid and phlegmatic German community was
such as might only be predicated of the volcanic temperament of Rome or
Naples. The roar of the multitude in front of her lodgings continued
all night, and it was dawn before she was able to retire to rest.
The versatility and kind heart of Mme. Viardot were illustrated in an
occurrence during this Berlin engagement. She had been announced as
_Alice_ in "Robert le Diable," when the _Isabella_ of the evening, Mlle.
Tuezck, was taken ill. The _impressario_ tore his hair in despair, for
there was no singer who could be substituted, and a change of opera
seemed to be the only option. Mme. Viardot changed the gloom of the
manager to joy. Rather than disappoint the audience, she would sing
both characters. This she did, changing her costume with each change
of scene, and representing in one opera the opposite _rôles_ of princess
and peasant. One can imagine the effect of this great feat on that
crowded Berlin audience, who had already so warmly taken Pauline Viardot