After Rossini's departure from London, his _Semiramide_, produced at Venice only the year before, was brought out with Madame Pasta, in the principal character. The part of "Semiramide" had been played at the _Fenice_ Theatre, by Madame Colbran; it was the last Rossini wrote for his wife, and _Semiramide_ was the last opera he composed for Italy. When we meet with Rossini again, it will be at the Académie Royale of Paris, as the composer of _the Siege of Corinth_, _Count Ory_, and _William Tell_. [Sidenote: ROSSINI'S SINGERS.] The first great representative of "Semiramide" was Pasta, who has probably never been surpassed in that character. After performing it with admirable success in London, she resumed in it the year afterwards, 1825, at the Italian Opera of Paris. Madame Pasta had already gained great celebrity by her representation of "Tancredi" and of "Romeo," but in _Semiramide_, she seems, for the first time, to have exhibited her genius in all its fulness.[86] The original "Arsace" was Madame Mariani, the first great "Arsace," Madame Pisaroni. Since the first production of _Semiramide_, thirty years ago, all the most distinguished sopranos and contraltos of the day have loved to appear in that admirable work. Among the "Semiramides," I may mention in particular Pasta, Grisi, Viardot-Garcia, and Cruvelli. Although not usually given to singers who particularly excel in the execution of light delicate music, the part of "Semiramide" was also sung with success by Madame Sontag (Paris, 1829), and Madame Bosio (St. Petersburgh, 1855). Among the "Arsaces," may be cited Pisaroni, Brambilla, and Alboni. Malibran, with her versatile comprehensive genius, appeared both as "Arsace" and as "Semiramide," and was equally fortunate in each of these very different impersonations. I will now say a few words respecting those of the singers just named, whose names are more especially associated with Rossini's earliest successes in England.