But the best proof that she really could lay claim to exceptional vocal as well as dramatic talent, and was not merely “an actress who spoke song”--to borrow Grétry’s definition of Madame Dugazon--is the success which attended her appearance at the “Concerts Spirituels,” where she took her place beside Mara and Todi, and acquitted herself so well that some critics went so far as to speak of her as a formidable rival to these eminent singers. The success of _Didon_ continued unabated. At each performance, Madame Saint-Huberty “seemed to add something to the purity of tone, to the truth of expression, to the profundity of sensibility which she had displayed on the first evening.”[198] At each performance a fresh ovation awaited her. On January 14, 1784, at the twelfth representation of the Opera, she was the recipient of an honour which up to that time was absolutely without precedent in France. “At the end of the second act,” writes Grimm, “which terminated with the pathetic trio between Énée, Didon, and her sister, a crown of laurel, badly aimed, fell into the orchestra. The person at whose feet it fell placed it on the edge of the stage. The public, with loud cries, demanded that it should be placed on Didon’s head, which was done, by the demoiselle Gavaudan, to the accompaniment of unanimous and prolonged applause. The actress, surprised and almost overwhelmed with confusion, experienced a shock so great that it was, for the moment, feared that she would be unable to finish her part.... This crown of laurel was tied with a white ribbon on which was embroidered these words: _Didon et Saint-Huberty sont immortelles_.”[199] Apropos of this coronation, La Ferté wrote to Amelot: “Another trouble, Monseigneur. I do not know whether you have been informed that on Friday evening last a crown, bearing the inscription: ‘_À la immortelle Saint-Huberty_,’ was thrown upon the stage. The actress who was playing with her picked it up and placed it on Madame Saint-Huberty’s head. This episode, apparently the result of an arrangement concerted with the demoiselle Saint-Huberty, cannot be ignored; for those who in this manner give crowns (an incident hitherto without example in the theatre in connection with an actor) might equally accustom themselves to throw baked apples and oranges, as happens in England, at an actor who does not meet with their approbation. The confusion would then be beyond remedy!”