Theresa Titiens was the offshoot of an ancient and noble Hungarian
family, who emigrated to Hamburg, Germany, on account of political
difficulties. Born in June, 1834, she displayed, like other
distinguished singers, an unmistakable talent for music at an early
period, and her parents lost no time in obtaining the best instruction
for her by placing her under the charge of an eminent master, when she
was only twelve years of age. At the age of fourteen, her voice had
developed into an organ of great power and sweetness. It was a high
soprano of extensive register, ranging from C below the line to D in
alt, and of admirable quality, clear, resonant, and perfectly pure. The
young girl possessed powers which only needed culture to lift her to a
high artistic place, and every one who heard her predicted a commanding
career. She was sent to Vienna to study under the best German masters,
and she devoted herself to preparation for her life-work with an ardor
and enthusiasm which were the best earnest of her future success.
On returning to Hamburg in 1849, she easily obtained an engagement, and
with the daring confidence of genius she selected the splendid _rôle_
of _Lucrezia Borgia_ as the vehicle of her _début_. Mme. Grisi had fixed
the ideal of this personation by investing it with an Oriental
passion and luxury of style; but this did not stay the ambition of the
_débutante_ of fifteen years. Theresa at this time was very girlish in
aspect, though tall and commanding in figure, and it may be fancied did
not suit the ripe and voluptuous beauty, the sinister fascination of
the Borgia woman, whose name has become traditional for all that is
physically lovely and morally depraved. If the immature Titiens did not
adequately reach the ideal of the character, she was so far from failing
that she was warmly applauded by a critical audience. She appeared in
the same part for a succession of nights, and her success became more
strongly assured as she more and more mastered the difficulties of her
work. To perform such a great lyric character at the age of fifteen,
with even a fair share of ability, was a glowing augury.
This early introduction to her profession was stamped by circumstances
of considerable romantic interest. A rich young gentleman, a scion of
one of the best Hamburg families, became passionately enamored of the
young cantatrice. After a brief but energetic courtship, he offered
her his hand, which Theresa, whose young heart had been touched by his
devotion, was not unwilling to accept, but the stumbling-block in the
way was that the family of the enamored youth were unwilling that his
future wife should remain on the stage. At last it was arranged that
Theresa should retire from the stage for a while, the understanding
being that, if at the end of nine months her inclination for the stage
should remain as strong, she should return to the profession. It was
tacitly a choice between marriage and a continuance of her professional
ambition. When the probation was over, the young cantatrice again
appeared before the footlights, and the unfortunate lover disappeared.
The director of opera at Frankfort-on-the-Main, having heard Mlle.
Titiens at Hamburg was so pleased that he made her an offer, and in
pursuance of this she appeared in Frankfort early in 1850, where she
made a most brilliant and decided success. Her reputation was now
growing fast, and offers of engagement poured in on her from various
European capitals. The director of the Imperial Opera at Vienna traveled
to Frankfort especially to hear her, and as her old contract with the
Frankfort _impressario_ was on the eve of expiration, and Mlle. Titiens
was free to accept a new offer, she gladly availed herself of the chance
to accept the opportunity of singing before one of the most brilliant
and critical publics of Europe. She made her _début_ at Vienna in 1856,
and was received with the most flattering and cordial approbation. She
appeared in the _rôle_ of _Donna Anna_ ("Don Giovanni"), and at the
close of the opera had numerous recalls. Her success was so great that
she continued to sing in Vienna for three consecutive seasons, and
became the leading favorite of the public. The operas in which she
made the most vivid impression were "Norma," "Les Huguenots," "Lucrezia
Borgia," "Le Nozze di Figaro," "Fidelio," and "Trovatore"; and her
versatility was displayed in the fact that when she was called on,
through the illness of another singer, to assume a comic part, she won
golden opinions from the public for the sparkle and grace of her style.