With regard to Mme. Malibran's _début_, the following is the story as he gave it. I related the episode in 'Antoinette Sterling and Other Celebrities,' from which I am enabled to quote here and elsewhere in the present memoir by courtesy of the publishers, Messrs Hutchinson. Rossini was director both of the Théâtre Italien and of the Grand Opera House, where French alone was performed. He was a great friend of both Maria Malibran and her brother, and frequently came to visit them at their house. Moreover, he heard the young contralto sing many times at social functions, often indeed himself accompanying her at the piano. Yet, though perfectly aware what a splendid singer she was, the composer never made her any offer to appear under either of the two managements. At last her opportunity of making an operatic _début_ in Paris arrived, but from quite another source. Galli, a famous basso of that time, who was having a benefit at the Italian Opera House, called one day and told her that he would put on "Semiramide" if she would like to sing the title part. After consulting with Manuel, she decided to accept the offer. Of the performance itself one of the Paris journals gives a graphic account:-- "The singer, at her entrance, was greeted with warm applause. Her commanding figure and the regularity of her features bespoke the favour of the public. The noble and dignified manner in which she gave the first phrase, 'Fra tanti regi e popoli,' justified the reception she had obtained, but the difficult phrase, 'Frema il empio,' proved a stumbling-block which she could not surmount. Alarmed by this check, she did not attempt the difficult passage in the 'da capo,' but, dropping her voice, terminated the passage without effect, and made her exit, leaving the audience in doubt and dissatisfaction. The prodigious talent displayed by Pisaroni in the subsequent scenes gave occasion to comparisons by no means favourable to Mme. Malibran. On her reentrance she was coldly received; but she soon succeeded in winning the public to her favour. In the andante to the air, 'Bel raggio lusinghier,' the young singer threw out such powers, and displayed a voice so full and beautiful, that the former coldness gave way to applause. Encouraged by this, she hazarded the greatest difficulties of execution, and appeared so inspired by her success that her courage now became temerity." From that night she was the idol of the French public. Another French critic writes, "If Maria Malibran must yield the palm to Pasta in point of acting, yet she possesses a decided superiority in respect to song."