original form was introduced into
England for the first time, and London learned to recognize the grandeur
of Beethoven in opera, as it had already done in symphony and sonata.
"Fidelio" had been already presented in its Italian dress, without
making very much impression, for the score had been much mutilated, and
the departure from the spirit of the composer flagrant. The opera,
as given by artists "to the manner born," was a revelation to English
audiences. The intense musical vigor of Beethoven's great work was felt
to be a startling variety, wrought out as it was in its principal
part by the genius of a great lyric vocalist. This was Mme.
Schroeder-Devrient, who, as an operatic tragedienne, stands foremost in
the annals of the German musical stage, though others have surpassed
her in merely vocal resources, and who never has been rivaled except by
Pasta.

She was the daughter of Sophia Schroeder, the Siddons of Germany. This
distinguished actress for a long time reigned supreme in her art. Her
deep sensibilities and dramatic instincts, her noble elocution and
stately beauty, fitted her admirably for tragedy. In such parts as
_Phedre, Medea, Lady Macbeth, Merope, Sappho, Jeanne de Montfaucon,
and Isabella_ in "The Bride of Messina," she had no pere. Wilhelmina
Schroeder was born in Hamburg, October 6, 1805, and was destined by her
mother for a stage career. In pursuance of this, the child appeared at
the age of five years as a little Cupid, and at ten danced in the ballet
at the Imperial Theatre of Vienna. With the gradual development of the
young girl's character came the ambition for a higher grade of artistic
work. So, when she arrived at the age of fifteen, her mother, who wished
her to appear in tragedy, secured for her a position at the Burgtheater
of Vienna, where she played in such parts as _Aricie_ in "Phedre,"
and _Ophelia_ in "Hamlet." The impression she made was that of a great
nascent actress, who would one day worthily fill the place of her
mother. But the true scope of her genius was not yet defined, for she
had not studied music. At last she was able to study under an Italian
master of great repute, named Mazzatti, who resided in the Austrian
capital.

Her first appearance was as _Pamina_ in Mozart's "Zauberflote," at the
Vienna theatre, January 20, 1821. The _debutante_ was warmly welcomed by
an appreciative audience, and the terrors of the young girl of seventeen
were quickly assuaged by the gene