In this, her first engagement at Paris, she made her _debut_ in Desdemona. She also performed with great success La Donna del Lago, Cenerentola, and other first characters in the first operas of the day. The Italian Opera season ended, she was eagerly engaged for the next season, and her support secured. She then returned to her engagement at Berlin,--once more at the Koenigstadt Theatre. Here she was destined to receive, in a very novel form, the greatest compliment she had as yet met with. The Berlinese, who justly deemed her the brightest living ornament of their capital, and considered her as a Prussian, and thus, for two reasons, their property, were indignant that she had left Berlin for Paris, and still more, that she had taken another engagement, and intended to leave them once more. When she appeared for the first time after her return, in the _Italiana in Algieri_, from all parts of the house there was an explosion of hisses and groans, interspersed with exclamations--"What a shame to leave us!" "Give up your engagement with the hateful French!" "Promise--swear you will remain with us!" &c., &c. The alarm of the manager and of the vocalists engaged in the _Italiana_ was boundless. The jealous husband of the _libretto_, the favored _cicisbeo_, even the erotic sultan and his janissaries fled from the theatre, whilst for twenty minutes the fair vocalist remained alone on the stage, mute and immovable as the statue of some nymph in a garden abiding the pelting of a storm. Vain were the efforts of the audience:-- "Speret--sudet multum, frustraque laboret," they could extract no concession from the goddess of their idolatry; their courage to persecute her further failed them; and they determined to enjoy the present moment,--"_advienne que pourra!_" From that night unto the end of the season, the applause and enthusiasm of the audiences of the Koenigstadt knew no bounds when the singer they had at first regaled with their fiercest sibillations was on the stage.