ndeur of
conception, her tragic dignity, her glowing warmth and _abandon_
rendered her worthy of the finest days of lyric tragedy. She was
thoroughly dramatic; her movements and gestures were singularly noble,
and her attitudes on the stage had classical breadth and largeness,
without the least constraint.

As _Leonora_, in "Trovatore," she was peculiarly successful, and
her _Donna Anna_ literally took the audience by storm, through the
magnificence of both the singing and acting. In June she made her
appearance as _Lucrezia Borgia_. The qualities which this part demands
are precisely those with which Mlle. Titiens was endowed--tragic power,
intensity, impulsiveness. Her commanding figure and graceful bearing
gave weight to her acting, while in the more tender scenes she was
exquisitely pathetic, and displayed great depth of feeling. "Com' e
bello" was rendered with thrilling tenderness, and the allegro which
followed it created a _furore_; it was one of the most brilliant
_morceaux_ of florid decorative vocalism heard for years, the upper C in
the cadenza being quite electrical. At the end of the first and second
acts, the heartrending accents of a mother's agony, wrung from the
depths of her soul, and the scornful courage tempered with malignant
passion, were contrasted with consummate power. It was conceded that
Grisi herself never rose to a greater pitch of dramatic truth and power.

Mlle. Titiens was unable to get an extension of her _conge_, and, much
to the regret of her manager and the public, returned to Vienna early
in the autumn. Instantly that she could free herself from professional
obligation, she proceeded to Italy to acquire the Italian language, a
feat which she accomplished in a few months. Here she met Mr. Smith, the
manager of the Drury Lane Theatre, and effected an arrangement with him,
in consequence of which she inaugurated her second London season on May
3, 1859, with the performance of _Lucrezia Borgia_. Mlle. Titiens sang
successively in the characters which she had interpreted during her
previous visit to London, adding to them the magnificent _role_ of
_Norma_, whose breadth and grandeur of passion made it peculiarly
favorable for the display of her genius. Near the close of the season
she appeared in Verdi's "Vepres Siciliennes," in which, we are told,
"she sang magnificently and acted with extraordinary passion and vigor.
At the close of the fourth act, when _Helen_ and _Procida_ are led t