Madame Pasta having appeared in Paris with success in 1816, was engaged with her husband, Signor Pasta (an unsuccessful tenor), for the following season at the King's Theatre. She made no great impression that year, and was quite eclipsed by Fodor and Camporese, who were members of the same company. The young singer, not discouraged, but convinced that she had much to learn, returned to Italy, where she studied unremittingly for four years. She reappeared at the Italian Opera of Paris in 1821, as "Desdemona," in Rossini's _Otello_, then for the first time produced in France. Her success was complete, but her performance does not appear to have excited that enthusiasm which was afterwards caused by her representation of "Medea," in Mayer's opera of that name. In _Medea_, however, Pasta was everything; in _Otello_, she had to share her triumph with Garcia, Bordogni, and Levasseur. From this time, the new tragic vocalist gained constantly in public estimation. _Medea_ was laid aside; but Pasta gained fresh applause in every new part she undertook, and especially in _Tancredi_ and _Semiramide_. [Sidenote: PASTA.] Pasta made her second appearance at the King's Theatre in 1824, in the character of "Desdemona." Her performance, from a histrionic as well as from a vocal point of view, was most admirable; and the habitués could scarcely persuade themselves that this was the singer who had come before them four years previously, and had gone away without leaving a regret behind. When Rossini's last Italian opera was produced, the same season, the character of "Semiramide" was assigned to Madame Pasta, who now sang it for the first time. She had already represented the part of "Tancredi," and her three great Rossinian impersonations raised her reputation to the highest point. In London, Madame Pasta did not appear as "Medea" until 1826, when she already enjoyed the greatest celebrity. It was found at the King's Theatre, as at the Italian Opera of Paris, that Mayer's simple and frequently insipid music was not tolerable, after the brilliant dramatic compositions of Rossini; but Pasta's delineation of "Medea's" thirst for vengeance and despair, is said to have been sublime.