At about the same time there flourished another tenor of high rank, whose career was confined almost entirely to Germany, Joseph Alois Tichatschek. He was born in 1807, at Ober Weckelsdorf, in Bohemia, and became a chorus singer in 1830, rising in his profession until, in 1837, he made his debut as a soloist at Dresden. In 1841 he sang for a few nights in London, at Drury Lane, during a season of German opera; also at Liverpool and Manchester, and was described as "young, prepossessing, and a good actor; his voice is excellent, and his style, though not wanting in cultivation, is more indebted to nature than to art." He was also said to have proved himself "the hit of the season." Tichatschek died in 1886. A singer who was much more widely known, and who belonged to the time of Grisi, Mario, Lablache, and the great operatic representations of those days, was Georgio Ronconi, the baritone. He had a reputation extending throughout Europe and into America, and he owes his celebrity rather to histrionic powers than to his voice, for we are told by Chorley that "there are few instances of a voice so limited in compass (hardly exceeding an octave), so inferior in quality, so weak, so habitually out of tune. The low stature, the features unmarked and commonplace, when silent, promising nothing to an audience, yet which could express a dignity of bearing, a tragic passion not to be exceeded, or an exuberance of the wildest, quaintest, most whimsical, most spontaneous comedy. These things we have seen, and have forgotten personal insignificance, vocal power beyond mediocrity, every disqualification, in the spell of strong, real sensibility." It was one of the many cases in which dramatic talent has made up for lack of voice. Ronconi sang for many years in London, in all the great comic operas. He retired in 1874, and became a teacher of singing. He died in 1890. In 1849 two stars of importance appeared on the operatic horizon,--Madame Marie Caroline Felix Miolan Carvalho, and Mlle. Theresa Carolin Johanna Tietiens. Madame Carvalho became the foremost lyric artist on the French stage, and was engaged for many years at the Opera Comique and at the Grand Opera in Paris, but she also sang frequently in London, Berlin, St. Petersburg, and other cities of Europe. Her first public appearance was made at a performance for the benefit of Duprez, her teacher, and she sang in the first act of "Lucia," and in the trio in the second act of "La Juive." Her last appearance, which took place in 1887, two years after her retirement from the stage, was also at a benefit,--a concert in aid of the sufferers by the fire at the Opera Comique. On this occasion she sang with Faure.