Giulietta Grisi was undoubtedly the greatest mistress since Pasta. That Mlle. Titiens could not contend with her on her own Ausonian soil no one will deny. Her means, her compass, her instincts, all forbade. There is, however, one exception--_Norma_, in which the German singer may challenge comparison with the Italian, and in which she occasionally surpasses her. In the French and German repertoire the younger artist has a decided advantage over the elder, in possessing a voice of such extent as to be enabled to execute the music of the composers without alteration of any kind. Everybody knows that Mlle. Titiens has not only one of the most magnificent and powerful voices ever heard, but also one of the most extraordinary in compass. To sing the music of _Donna Anna, Fidelio, Valentine_, etc., without transposition or change, and to sing it with power and effect, is granted to few artists. Mlle. Titiens is one of these great rarities, and, therefore, without any great stretch of compliment, we may assert that, putting aside the Rossinian repertoire, she is destined to wear the mantle of Grisi." In no previous season was Mlle. Titiens so popular or so much admired as during the season of 1862. Her most remarkable performance was the character of _Alice_, in Meyerbeer's "Robert le Diable." "Mlle. Titiens's admirable personation of _Alice_," observes the critic of a leading daily paper, "must raise her to a still higher rank in public estimation than that she has hitherto so long sustained. Each of the three acts in which the German soprano was engaged won a separate triumph for her. We are tired of perpetually expatiating on the splendid brightness, purity, and clearness of her glorious voice, and on the absolute certainty of her intonation; but these mere physical requisites of a great singer are in themselves most uncommon. Irrespectively of the lady's clever vocalization, and of the strong dramatic impulse which she evinces, there is an actual sensual gratification in listening to her superb voice, singing with immovable certainty in perfect tune. Her German education, combined with long practice in Italian opera, peculiarly fit Mlle. Titiens for interpreting the music of Meyerbeer, who is equally a disciple of both schools." IV.