t she was extremely pleasing, so much so, in fact, that
the critics wrote of "her gay, handsome face." Her most remarkable
performance was in "La Traviata," in which she sang with the tenor
Gardoni and the bass Ronconi, both singers of great renown.

The greatest contralto of the middle of the century was undoubtedly
Marietta Alboni, the daughter of a custom-house officer of Casena,
Romagna. She was born in 1822, and, like most of the great singers,
showed her talent early. She was placed under good teachers, and
attracted the attention of Rossini by her beautiful voice. He took so
much interest in her that he gave her instruction in some of her parts.
Thus she had the honor of being Rossini's only pupil.

In 1842 she made her first appearance in opera, and was soon after
engaged at La Scala, Milan, where she remained for four years. After
this she appeared at Vienna, and then she travelled through Europe,
creating a general furore.

Alboni was not an actress,--she was a singer simply and absolutely, and
her singing was such as to carry everything before it. The tones of her
voice were rich, full, mellow, and liquid,--sumptuous, they have been
called,--and of a pure and sympathetic quality. It was not even, for the
upper register was thin. Her articulation was perfectly clear and
fluent, even in the most difficult passages, and her style and method
were considered models. Her figure, though large, was graceful and
commanding, and her disposition was amiable. She was both independent
and dignified. While in Germany, and comparatively unknown, she declined
to seek the favor of the press, preferring to trust to the judgment of
the public.

Once upon a time, when Madame Alboni was at Trieste, she was informed of
the existence of a plot to hiss her off the stage. Having ascertained
the names of her detractors and where they were to be found, she donned
male attire, in which her short hair and robust figure helped to
complete her disguise, and went to the cafe at which the conspirators
met. Here she found them in full consultation, and, taking a seat at a
table, she listened to their conversation for a time. After awhile she
addressed the leader, saying: "I hear that you intend to play a trick
upon some one. I am very fond of a little practical joke myself, and
should be glad if you would allow me to join you on this occasion."

"With pleasure," was the reply; "we intend to hiss an opera singer off
the stage this evening