was in Henrietta, and Henrietta was allowed to appear upon the boards of the Imperial Opera of Prague--a theatre to which immortality is secured by the first performance of the _Nozze di Figaro_ and the _Clemenza di Tito_ having taken place within its walls. From a recently published and authentic sketch of Madame Sontag's professional life,[8] we extract an account of her entrance. [7] Theophile Gautier, _L'Ambassadrice. Biographie de la Comtesse Rossi_. Paris: 1850. [8] _A Memoir of the Countess de Rossi_, (Madame Sontag.) London: 1850. "If nothing was wanting in courage, natural gifts of voice, and intellectual power, on the part of the child, as regards the height of her person there was a _mancamento_ of several inches. But the stage-manager was not oblivious of the means by which the Greeks gave altitude to their scenic heroes and heroines; and the little _prima donna_, to whom was assigned for her _début_ the principal female part in a translation of the favourite French opera _Jean de Paris_, was supplied with enormous cork heels. There was a time, at the court of Louis XV., when an inch and a half of red heel was the distinctive characteristic of a marquis, or of a lady of sufficient quality to be allowed to sit in the presence of royalty. On the occasion of the _début_ of Henriette Sontag, four inches of vermillion-coloured cork foreshadowed the rank of the little lady, destined to become one of the most absolute mimic queens of the lyrical world, and afterwards a real and much respected countess. When the singer who enacted the pompous seneschal in the opera of _Jean de Paris_ came forward, and said, 'It is no less a personage than the Princess of Navarre whose arrival I announce!' the applause and laughter was universal. When the little prodigy appeared on her cork pedestal, the house re-echoed with acclamations. As the business of the stage proceeded, the auditors found there was no longer any indulgence necessary on the score of age, but that there were claims on their admiration for a voice which, for purity, peculiar flute-like tone, and agility, has never been surpassed. The celebrated tenor, Gerstener, that night surpassed himself, finding he had to cope with the attraction of a new musical power. Many nights successively did she thus sing the Princess of Navarre, with increasing success, to crowded houses. Her next part was one far more difficult--that of the heroine in Paer's fine opera, _Sargin_. But the capital of Bohemia was not long to retain her. The Imperial court heard of her extraordinary success, and Henriette Sontag was summoned to Vienna, where she appeared, the very next season, at the German Opera."