Sontag and Malibran both made their first appearance in England as "Rosina," in the _Barber of Seville_. Several points of similarity might be pointed out between the romantic careers of these two wonderfully successful and wonderfully unfortunate vocalists. Mademoiselle Garcia first appeared on the stage at Naples, when she was eight years old. Mademoiselle Sontag was in her sixth year when she came out at Frankfort. Each spent her childhood and youth in singing and acting, and each, after obtaining a full measure of success, made an apparently brilliant marriage, and was thought to have quitted the stage. Both, however, re-appeared, one after a very short interval, the other, after a retirement of something like twenty years. The position of Mademoiselle Garcia's husband, M. Malibran, was as nothing, compared to that of Count Rossi, who married Mademoiselle Sontag; the former was a French merchant, established (not very firmly, as it afterwards appeared) at New York; the latter was the Sardinian Ambassador at the court of Vienna; but on the other hand, the Countess Rossi's end was far more tragic, or rather more miserable and horrible than that of Madame Malibran, itself sufficiently painful and heart-rending. Though Rosina appears to have been one of Mademoiselle Sontag's best, if not absolutely her best part, she also appeared to great advantage during her brief career in London and Paris, in two other Rossinian characters, "Desdemona" and "Semiramide." In her own country she was known as one of the most admirable representatives of "Agatha," in _Der Freischütz_, and she sang "Agatha's" great _scena_ frequently, and always with immense success, at concerts, in London. She also appeared as "Donna Anna," in _Don Giovanni_, (from the pleasing, graceful character of her talent, one would have fancied the part of "Zerlina" better suited to her), but in Italian opera all her triumphs were gained in the works of Rossini. [Sidenote: MALIBRAN.]