there was not, we are assured, a dry eye in the whole house. “What more glorious triumph,” writes one of the actress’s biographers, “could this poor artiste in her days of toil and misery have ever dreamed of!”[195] Among the critics, not a dissentient voice was heard; all joined in a chorus of praise of _Didon_ and the great lyric _tragédienne_. “Madame Saint-Huberty,” wrote the _Mémoires secrets_, “played the part with the highest talent. She excelled even herself, and showed herself not less a great actress than an accomplished singer.” “It is the voice of Todi; it is the acting of Clairon!” cries Grimm. “It is a model which has not been seen on the stage for a long time, and will not soon be seen again.” And Guinguéné, in his valuable study of the life and works of Piccini, writes: “The talent of this sublime actress has its origin in her extreme sensibility. An air might be better sung, but it would be impossible to give to any air, to any recitative, a truer, more passionate expression. No action could be more dramatic than hers, no silence more eloquent. One still recalls her terrible dumb-show, her tragic immobility; and the awful expression of her countenance during the long ritornello of the chorus of the priests, towards the end of the third act, and while the chorus is being sung. “At the performance she did no more than replace herself in the position in which she had naturally found herself at the first general rehearsal. Some one spoke to her of the impression she had seemed to feel, and which she communicated to the whole audience. “‘I really experienced it,’ she answered. ‘After the tenth bar, I felt as if I were dead.’[196] “This reply,” remarks Gaboriau, “reveals the whole secret of the great lyric _tragédienne’s_ talent. An actress of genius, she knew how to keep her head, but she surrendered her whole heart, her whole soul. She really suffered the grief which she expressed in so heartrending a manner; she really felt as if she were dying. And to such a point was this true that, after each performance, she was so ill and exhausted that she needed several hours to recover herself.”[197] It has been said that Madame Saint-Huberty was an infinitely better actress than she was a singer. This, however, was certainly not the case. Castil-Blaze declares her to have been the first vocalist worthy of the name who appeared at the French Opera; while one of her biographers points out that Piccini would never have composed for her so difficult an air as that beginning: “_Ah! que je fus bien inspirée_,” had he not known her to possess a cultivated voice, full of charm and expression.