But in the hour of danger the poor contralto was saved by her thoroughly beautiful singing, and Pisaroni and Sontag, who as a vocalist also left nothing to desire, were equally applauded. In London, Pisaroni appears to have confined herself intentionally to the representation of male characters, appearing as "Arsace," "Malcolm," in _La Donna del Lago_, and "Tancredi;" but in Paris she played the principal female part in _L'Italiana in Algeri_, and what is more, played it with wonderful success. * * * * * The great part of "Arsace" was also that in which Mademoiselle Brambilla made her début in England in the year 1827. Brambilla, who was a pupil of the conservatory of Milan, had never appeared on any stage; but though her acting is said to have been indifferent, her lovely voice, her already excellent style, her youth and her great beauty, ensured her success. "She has the finest eyes, the sweetest voice, and the best disposition in the world," said a certain cardinal of the youthful Brambilla, "if she is discovered to possess any other merits, the safety of the Catholic Church will require her excommunication." After singing in London several years, and revisiting Italy, Brambilla was engaged in Paris, where she again chose the part of "Arsace," for her début. Many of our readers will probably remember that "Arsace" was also the character in which Mademoiselle Alboni made her first appearance in England, and on this side of the Alps. Until the opening night of the Royal Italian Opera, 1847, the English public had never heard of Mademoiselle Alboni; but she had only to sing the first phrase of her part, to call forth unanimous applause, and before the evening was at an end, she had quite established herself in the position which she has ever since held. [Sidenote: SONTAG.]