As _Leonora_, in "Trovatore," she was peculiarly successful, and her _Donna Anna_ literally took the audience by storm, through the magnificence of both the singing and acting. In June she made her appearance as _Lucrezia Borgia_. The qualities which this part demands are precisely those with which Mlle. Titiens was endowed--tragic power, intensity, impulsiveness. Her commanding figure and graceful bearing gave weight to her acting, while in the more tender scenes she was exquisitely pathetic, and displayed great depth of feeling. "Com' e bello" was rendered with thrilling tenderness, and the allegro which followed it created a _furore_; it was one of the most brilliant _morceaux_ of florid decorative vocalism heard for years, the upper C in the cadenza being quite electrical. At the end of the first and second acts, the heartrending accents of a mother's agony, wrung from the depths of her soul, and the scornful courage tempered with malignant passion, were contrasted with consummate power. It was conceded that Grisi herself never rose to a greater pitch of dramatic truth and power. Mlle. Titiens was unable to get an extension of her _conge_, and, much to the regret of her manager and the public, returned to Vienna early in the autumn. Instantly that she could free herself from professional obligation, she proceeded to Italy to acquire the Italian language, a feat which she accomplished in a few months. Here she met Mr. Smith, the manager of the Drury Lane Theatre, and effected an arrangement with him, in consequence of which she inaugurated her second London season on May 3, 1859, with the performance of _Lucrezia Borgia_. Mlle. Titiens sang successively in the characters which she had interpreted during her previous visit to London, adding to them the magnificent _role_ of _Norma_, whose breadth and grandeur of passion made it peculiarly favorable for the display of her genius. Near the close of the season she appeared in Verdi's "Vepres Siciliennes," in which, we are told, "she sang magnificently and acted with extraordinary passion and vigor. At the close of the fourth act, when _Helen_ and _Procida_ are led to the scaffold, the conflicting emotions that agitate the bosom of the heroine were pictured with wonderful truth and intensity by Mlle. Titiens." From London the singer made a tour of the provinces, where she repeated the remarkable successes of the capital. At the various musical festivals, she created an almost unprecedented reputation in oratorio. The largeness and dignity of her musical style, the perfection of a voice which responded to every intention of the singer, her splendor of declamation, stamped her as _par excellence_ the best interpreter of this class of music whom England had heard in the more recent years of her generation. Her fame increased every year, with the development of her genius and artistic knowledge, and it may be asserted that no singer, with the exception of Grisi, ever held such a place for a long