She made her first bow before an English audience on April 13, 1858, as _Valentine_ in Meyerbeer's _chef d'oeuvre_, Giuglini singing the part of _Raoul_ for the first time. She did not understand Italian, but, under the guidance of a competent master, she memorized the unknown words, pronunciation and all, so perfectly that no one suspected but that she was perfectly conversant with the liquid accents of that "soft bastard Latin" of the South. Success alone justified so dangerous an experiment. The audience was most fashionable and critical, and the reception of the new singer was of the most assuring kind. The voice of Mlle. Titiens was a pure soprano, fresh, penetrating, even, powerful, unusually rich in quality, extensive in compass, and of great flexibility. It had a bell-like resonance, and was capable of expressing all the passionate and tender accents of lyric tragedy. Theresa Titiens was, in the truest, fullest sense of the word, a lyric artist, and she possessed every requisite needed by a cantatrice of the highest order--personal beauty, physical strength, originality of conception, a superb voice, and inexhaustible spirit and energy. Like most German singers, Mlle. Titiens regarded ornamentation as merely an agreeable adjunct in vocalization; and in the music of _Valentine_ she sang only what the composer had set down--neither more nor less--but that was accomplished to perfection. As an actress, her tall, stately, elegant figure was admirably calculated to personate the tragic heroines of opera. Her face at this time was beautiful, her large eyes flashed with intellect, and her classical features were radiant with expression; her grandeur of conception, her tragic dignity, her glowing warmth and _abandon_ rendered her worthy of the finest days of lyric tragedy. She was thoroughly dramatic; her movements and gestures were singularly noble, and her attitudes on the stage had classical breadth and largeness, without the least constraint.