"The admirers of the genius of that great composer," says M. P. Scudo, in a lively, but not strictly correct sketch of Madame Sontag's career, inserted in the _Revue des Deux Mondes_, "consisted of the youth of the universities, and of all the ardent and generous spirits who desired to emancipate Germany intellectually as well as politically from foreign domination.... They were grateful to Mademoiselle Sontag for consecrating a magnificent voice, and a method rarely found beyond the Rhine, to the energetic and profound music of Weber, Beethoven, Spohr, and the new race of German composers, who had broken _all compact with foreign impiety_, and given an impulse to the national genius. Receiving universal homage, celebrated by wits, serenaded by students, and escorted by the huzzas of the German press, Mademoiselle Sontag was called to Berlin, where she made her appearance with immense success at the Koenigstadt Theatre. It was at Berlin, as is well known, that the _Freischütz_ was for the first time performed, in 1821. It was at Berlin, the Protestant and rationalist city, the centre of an intellectual and political movement which sought to absorb the activity of Germany at the expense of Vienna--that catholic capital, where the spirit of tradition, sensuality, the soft breezes and melodies of Italy reigned--it was at Berlin that the new school of dramatic music founded by Weber had taken the firmest hold. With enthusiasm, as the inspired interpreter of the national music, Mademoiselle Sontag was there welcomed. The disciples of Hegel took her for the text of their learned commentaries, and hailed, in her limpid and sonorous voice, _the subjective confounded with the objective in an absolute unity_! The old King of Prussia received her at his court with paternal goodness. There it was that diplomacy had the opportunity to approach Mademoiselle Sontag, and to make an impression on the heart of the muse."