period of years in the estimate of the English public. III. During the season of 1860 she added fresh laurels to those which she had already attained, and sang several new parts, among which maybe mentioned Flotow's pretty ballad opera of "Martha" and Rossini's "Semiramide." Her performance in the latter work created an almost indescribable sensation, so great was her singing, so strong and picturesque the dramatic effects which she produced. One of the sensations of the season was Titiens's rendering of "Casta Diva," in "Norma." Though many great vocalists had thrilled the public by their rendering of this celebrated aria, no one had ever yet given it the power so to excite the enthusiasm of the public. Mlle. Titiens performed also in the opera of "Oberon" for the first time, with great success. But the _piece de resistance_ of the season was Rossini's great tragic opera. "In Titiens's _Semiramide_," said a critic of the time, "her intellectuality shines most, from its contrasting with the part she impersonates--a part which in no wise assists her; but, as in a picture, shadow renders a light more striking. In the splendid aria, 'Bel Raggio,' the _solfeggi_ and fioriture that she lavishes on the audience were executed with such marvelous tone and precision that she electrified the house. The grand duet with Alboni, 'Giorno d'orrore,' was exquisitely and nobly impressive from their dramatic interpretation of the scene." In 1861 Mlle. Titiens made an engagement with Mr. Mapleson, under whose control she remained till her career was cut short by death. Associated with her under this first season of the Mapleson _regime_ were Mme. Alboni, the contralto, and Signor Giuglini, the tenor. Her performance in the "Trovatore" drew forth more applause than ever. "Titiens is the most superb _Leonora_ without a single exception that the Anglo-Italian stage has ever witnessed," wrote an admiring critic. Among other brilliant successes of the season was her performance for the first time of _Amelia_ in Verdi's "Un Ballo in Maschera," which was a masterpiece of vocalization and dramatic fire. The great German cantatrice was now accepted as the legitimate successor of Pasta, Malibran, and Grisi, and numerous comparisons were made between her and the last-named great singer. No artists could be more unlike in some respects. Titiens lacked the adroitness, the fluent melting grace, the suavity, of the other. "But," one critic justly remarks, "in passionate feeling, energy, power of voice, and grandeur of style, a comparison may be established. In certain characters Grisi has left no one to fill her place. These will be found mostly in Rossini's operas, such as _Semiramide, Ninetta, Desdemona, Pamira_ ('L'Assedio di Corinto'), _Elene_, etc., to which we may add _Elvira_ in 'I Puritani,' written expressly for her. In not one of these parts has anybody created an impression since she sang them. They all belong to the repertoire of pure Italian song, of which