[9] Beaumarchais, in his admirable preface to the opera of _Tarare_. [10] _Madame Malibran_, par la COMTESSE MERLIN. Paris: 1838. The good understanding thus brought about was permanent, and many proofs of it are on record. From that time forward Sontag and Malibran frequently sang together, both in Paris and London, and displayed an amiability very rare amongst operatic celebrities, in respect to distribution of parts, and to other points which often prove a prolific source of strife behind the scenes. In the little English memoir already referred to, we find some anecdotes illustrative of the kindly feeling between the blue-eyed soprano and the dark-browed contralto. Towards the close of the London opera season of 1829, Malibran one day met Donzelli, the celebrated tenor, with discontent stamped upon his features. She asked the cause of his vexation. The time was at hand for his benefit, he said, and he had been unable to fix on an attractive opera. "'Have you thought of nothing?' inquired Malibran. "'Yes; I had thought of the _Matrimonio Segreto_; but Pisaroni says she is quite ugly enough without playing Fidalma: and then you would not be included in the cast; and I don't know what opera to choose in which you would not have the second part to Mademoiselle Sontag's first--that would not please you, and I am in despair.' "'Well,' said Malibran, 'to please you, and to show you I would play any part with Sontag, I will play Fidalma.' "'What, old Fidalma? You are joking!' "'To prove that I am in earnest, announce it this very day.'" The opera was announced; Malibran was as good as her word, and played the old aunt admirably: not as Fidalma has since been sometimes misrepresented by singers who sacrificed scenic truth to their own coquetry, but with the due allowance of wrinkles and the antiquated costume appropriate to the part.