But a dreadful discovery threw her into despair when she arrived at her new quarters--she had lost her voice. Not a sound could be forced from her throat. Sophie was in despair, for this was, indeed, annihilation to her hopes, and there seemed nothing in fate for her but to settle down to the average life of the German housewife, "to suckle fools and chronicle small beer," when, on the eve of departure for Bielefeld, Signor Lamperti, the famous teacher, announced himself. The experienced maestro advised them to wait, reasoning that the loss of voice was rather the result of fatigue and nervousness than of any more radical defect. It was true, for a few days only had passed when Sophie's voice returned again in all its power. Lamperti devoted himself assiduously to preparing the young German singer for her _debut_, and at the end of 1847 she was enabled to appear at La Fenice, under the Italianized name of Cruvelli, in the part of _Dona Sol_ in "Ernani." This was followed by a performance of _Norma_, and in both she made a strong impression of great powers, which only needed experience to shine with brilliant luster. The fact that her instructor permitted her to appear, handicapped as she was by inexperience and stage ignorance, in _roles_ not only marked by great musical difficulty, but full of dramatic energy, indicates what a high estimate was placed on her powers. Mr. Lumley, the English _impressario_, was at this time scouring Italy for fresh voices, and, hearing Mlle. Cru veil i, secured her for his company, which when completed consisted of Mmes. Persiani and Viardot, Miles. Alboni and Cruvelli, Signori Cuzzani, Belletti, Gardoni, and Polonini. Mlle. Cruvelli was now eighteen, and in spite of the Lind mania, which was raging at white heat, the young German cantatrice made a strong impression on the London public. Her first appearance was in "Ernani," on February 19, 1848. The performance was full of enthusiasm and fire, though disfigured by certain crudities and the violence of unrestrained passion. Her voice, in compass from F to F, was a clear, silvery soprano, and possessed in its low notes something of the delicious quality of the contralto, that bell-like freshness and sonority which is one of the most delightful characteristics of the human voice. Her appearance was highly attractive, for she possessed a finely molded figure of middle height, and a face expressive, winning, and strongly marked. She further appeared as _Odabella_ in "Attila," and as _Lucrezia_ in "I Due Foscari," both of which performances were very warmly received. During the season she also sang in "Nino," "Lucrezia Borgia," "Il Barbiere," and "Nozze di Figaro." Her _Rosina_ in Rossini's great comic opera was a piquant and attractive performance. II.