same part for a succession of nights, and her success became more
strongly assured as she more and more mastered the difficulties of her
work. To perform such a great lyric character at the age of fifteen,
with even a fair share of ability, was a glowing augury.

This early introduction to her profession was stamped by circumstances
of considerable romantic interest. A rich young gentleman, a scion of
one of the best Hamburg families, became passionately enamored of the
young cantatrice. After a brief but energetic courtship, he offered
her his hand, which Theresa, whose young heart had been touched by his
devotion, was not unwilling to accept, but the stumbling-block in the
way was that the family of the enamored youth were unwilling that his
future wife should remain on the stage. At last it was arranged that
Theresa should retire from the stage for a while, the understanding
being that, if at the end of nine months her inclination for the stage
should remain as strong, she should return to the profession. It was
tacitly a choice between marriage and a continuance of her professional
ambition. When the probation was over, the young cantatrice again
appeared before the footlights, and the unfortunate lover disappeared.

The director of opera at Frankfort-on-the-Main, having heard Mlle.
Titiens at Hamburg was so pleased that he made her an offer, and in
pursuance of this she appeared in Frankfort early in 1850, where she
made a most brilliant and decided success. Her reputation was now
growing fast, and offers of engagement poured in on her from various
European capitals. The director of the Imperial Opera at Vienna traveled
to Frankfort especially to hear her, and as her old contract with the
Frankfort _impressario_ was on the eve of expiration, and Mlle. Titiens
was free to accept a new offer, she gladly availed herself of the chance
to accept the opportunity of singing before one of the most brilliant
and critical publics of Europe. She made her _debut_ at Vienna in 1856,
and was received with the most flattering and cordial approbation. She
appeared in the _role_ of _Donna Anna_ ("Don Giovanni"), and at the
close of the opera had numerous recalls. Her success was so great that
she continued to sing in Vienna for three consecutive seasons, and
became the leading favorite of the public. The operas in which she
made the most vivid impression were "Norma," "Les Huguenots," "Lucrezia
Borgia," "Le Nozze di Figaro," "Fidel