the conservatorium, and taken
back to Naples. The impresario hastened to make good his loss by seizing
the portmanteau, which, however, proved to be very disappointing.

After Lablache made his first appearance in opera his fame grew
rapidly, and in a few years had reached colossal proportions. Among the
honors which fell to his lot was that of being music teacher to Queen
Victoria. His death, which occurred in 1858, drew forth expressions of
regret from all parts of Europe, for it was felt that in Lablache the
world of song had lost one of its brightest lights.

Mario, who followed Rubini as tenor in the celebrated "Puritani"
quartet, was more closely connected with the career of Madame Grisi than
any other singer, for he became her husband. His proper title was Mario,
Cavaliere di Candia; but, in order to soothe the family pride, he was
known on the stage by his Christian name only. When he first went to
Paris, in 1836, he held a commission in a Piedmontese regiment. The
fascinating young Italian officer was welcomed in the highest circles,
for his splendid physical beauty, and his art-talents as an amateur in
music, painting, and sculpture, separated him from all others, even in a
throng of brilliant and accomplished men. In Paris he fell into debt,
and, having a beautiful voice, he accepted the proposition of Duponchel,
the manager of the opera, and entered upon stage life. Though his
singing was very imperfect and amateurish, his princely beauty and
delicious, fresh voice took the musical public by storm.

Mario will live in the world's memory as the best opera-lover ever seen.
In such scenes as the fourth act of "Les Huguenots," and the last act of
"Favorita," Mario's singing and acting were never to be forgotten by
those that witnessed them. Intense passion and highly finished vocal
delicacy combined to make these pictures of melodious suffering
indelible. As a singer of romances he has never been equalled; in those
songs where music tells the story of passion, in broad, intelligible,
ardent phrases, and presents itself primarily as the vehicle of violent
emotion, Mario stood ahead of all others of his age. For a quarter of a
century he remained before the public of Paris, London, and St.
Petersburg, but he did not finally retire until 1867.

The story of Mario's life reads like a romance. At times he was steeped
in the depths of poverty; at others, he enjoyed great wealth and lived
in princely style. Shortly