An engagement was procured for her without difficulty at the Opera, which was then controlled by the triumvirate, Rossini, Robert, and Severini. Rossini remembered the beautiful _debutante_ for whom he had predicted a splendid future, and secured a definite engagement for her at the Favart to replace Mme. Malibran. That this young and comparatively inexperienced girl, with a reputation hardly known out of Italy, should have been chosen to take the place of the great Malibran, was alike flattering testimony to her own rising genius and Rossini's penetration. She appeared first before a French audience in "_Semiramide_," and at once became a favorite. During the season of six months she succeeded in establishing her place as one of the most brilliant singers of the age. She sang in cooperation with many of the foremost artists whose names are among the great traditions of the art. In "Don Giovanni," Rubini and Tamburini appeared with her; in "Anna Bolena," Mme. Tadolini, Santini, and Rubini. Even in Pasta's own great characters, where Mlle. Grisi was measured against the greatest lyric tragedienne of the age, the critics, keen to probe the weak spot of new aspirants, found points of favorable comparison in Grisi's favor. During this year, 1832, both Giuditta and Giulia Grisi retired from the stage, the former to marry an Italian gentleman of wealth, and the latter to devote a period to rest and study. When Giulia reappeared on the French stage the following year, a wonderful improvement in the breadth and finish of her art was noticed. She had so improved her leisure that she had eradicated certain minor faults of vocal delivery, and stood confessed a symmetrical and splendidly equipped artist. Her performances during the year 1833 in Paris embraced a great variety of characters, and in different styles of music, in all of which she was the recipient of the most cordial admiration.