"This vocal scale," says Scudo, speaking of her voice, "is divided into three parts or registers, which follow in complete order. The first register commences at F in the base, and reaches F in the _medium_. This is the true body of the voice, whose admirable timbre characterizes and colors all the rest. The second extends from G in the _medium_ to F on the fifth line; and the upper part, which forms the third register, is no more than an elegant superfluity of Nature. It is necessary next to understand with what incredible skill the artist manages this instrument; it is the pearly, light, and florid vocalization of Persiani joined to the resonance, pomp, and amplitude of Pisaroni. No words can convey an idea of the exquisite purity of this voice, always mellow, always equable, which vibrates without effort, and each note of which expands itself like the bud of a rose--sheds a balm on the ear, as some exquisite fruit perfumes the palate. No scream, no affected dramatic contortion of sound, attacks the sense of hearing, under the pretense of softening the feelings." "But that which we admire above all in the artist," observes Fiorentino, "is the pervading soul, the sentiment, the perfect taste, the inimitable method. Then, what body in the voice! What largeness! What simplicity of style! What facility of vocalization! What genius in the contrasts! What color in the phrases! What charm! What expression! Mlle. Alboni sings as she smiles--without effort, without fatigue, without audible and broken respiration. Here is art in its fidelity! here is the model and example which every one who would become an artist should copy."