Amid the dazzling vocal displays of all kinds which M'lle Sontag pours forth every evening before her admirers, attention is chiefly claimed by the limpidity of her chromatic scales and the brilliance of her trills which scintillate like rubies lying on velvet. Each note of these long descending flights stands out as if it alone was struck and is linked to the following note by a delicate and imperceptible transition; and all these marvels are accomplished with perfect grace, and without ever distorting the countenance by the least appearance of effort. The charming face of M'lle Sontag, the clearness and sweetness of her lovely eyes, her elegant outlines, and her figure lithe and slender as the stem of a young poplar, finish the picture and complete the enchantment. M'lle Sontag has essayed all styles. Born in Germany at the commencement of this tumultuous era, she was developed by the vigorous and powerful music of the new German school, and achieved her first success in the masterpieces of Weber. At Paris she attempted successively the characters of _Desdemona_, _Semiramide_, and that of _Donna Anna_ in the _chef d'oeuvre_ of Mozart. In spite of the enthusiasm which she seems to have excited in her countrymen by the manner in which she was enabled to render the dramatic inspiration of Weber--an enthusiasm the echo of which is found in the works of Louis Boerne--in spite of the brilliant endowments which she displayed in the character of _Desdemona_, and above all in that of _Donna Anna_, which was forced upon her almost by the jealousy of Mad. Malibran--it is in light music and in the placid style that M'lle Sontag finds her true superiority. The music of _Rosina_ in _Il Barbiere de Seviglia_, that of _Ninetta_ in _La Gazza Ladra_, of _Amenaide_ in _Tancredi_, and _Elena_ in _La Donna del Lago_, have afforded her the fields for her greatest success. The cry of pathos never escapes from those delicate lips on whose gently parted loveliness grace sits smiling; bursts of passion never distort the classic contour of that visage, or crimson the satin-like surface of that white and polished skin. No; in that elegant form, which flits before the eager eye like an airy cloud, nature never rouses the magnificent tempests of passion. This is the reason why Mademoiselle Sontag consented to bow her lovely head under the yoke of matrimony, and to descend from a throne to which she had been elevated by the omnipotence of talent, to become the Countess de Rossi. Who knows if, after all, bitter regrets did not follow to disturb the repose which she had promised herself? Who can tell if the ambassadress, in the midst of her sombre grandeur, has not turned a regretful glance upon those bright years of her youth, when a whole nation of admirers crowned her with roses and perennial wreaths? Have not Auber and Scribe, in their pretty opera _L'Ambassadrice_, given us the story of Mademoiselle Sontag transformed into the Countess de Rossi?