During the season of 1860 she added fresh laurels to those which she
had already attained, and sang several new parts, among which maybe
mentioned Flotow's pretty ballad opera of "Martha" and Rossini's
"Semiramide." Her performance in the latter work created an almost
indescribable sensation, so great was her singing, so strong and
picturesque the dramatic effects which she produced. One of the
sensations of the season was Titiens's rendering of "Casta Diva," in
"Norma." Though many great vocalists had thrilled the public by their
rendering of this celebrated aria, no one had ever yet given it
the power so to excite the enthusiasm of the public. Mlle. Titiens
performed also in the opera of "Oberon" for the first time, with great
success. But the _pièce de resistance_ of the season was Rossini's great
tragic opera. "In Titiens's _Semiramide_," said a critic of the time,
"her intellectuality shines most, from its contrasting with the part she
impersonates--a part which in no wise assists her; but, as in a picture,
shadow renders a light more striking. In the splendid aria, 'Bel
Raggio,' the _solfeggi_ and fioriture that she lavishes on the
audience were executed with such marvelous tone and precision that she
electrified the house. The grand duet with Alboni, 'Giorno d'orrore,'
was exquisitely and nobly impressive from their dramatic interpretation
of the scene."
In 1861 Mlle. Titiens made an engagement with Mr. Mapleson, under whose
control she remained till her career was cut short by death. Associated
with her under this first season of the Mapleson _régime_ were Mme.
Alboni, the contralto, and Signor Giuglini, the tenor. Her performance
in the "Trovatore" drew forth more applause than ever. "Titiens is the
most superb _Leonora_ without a single exception that the Anglo-Italian
stage has ever witnessed," wrote an admiring critic. Among other
brilliant successes of the season was her performance for the first time
of _Amelia_ in Verdi's "Un Ballo in Maschera," which was a masterpiece
of vocalization and dramatic fire. The great German cantatrice was now
accepted as the legitimate successor of Pasta, Malibran, and Grisi,
and numerous comparisons were made between her and the last-named great
singer. No artists could be more unlike in some respects. Titiens lacked
the adroitness, the fluent melting grace, the suavity, of the other.
"But," one critic justly remarks, "in passionate feeling, energy, power
of voice, and grandeur of style, a comparison may be established. In
certain characters Grisi has left no one to fill her place. These will
be found mostly in Rossini's operas, such as _Semiramide, Ninetta,
Desdemona, Pamira_ ('L'Assedio di Corinto'), _Elene_, etc., to which we
may add _Elvira_ in 'I Puritani,' written expressly for her. In not one
of these parts has anybody created an impression since she sang them.
They all belong to the repertoire of pure Italian song, of which
Giulietta Grisi was undoubtedly the greatest mistress since Pasta. That
Mlle. Titiens could not contend with her on her own Ausonian soil no one
will deny. Her means, her compass, her instincts, all forbade. There
is, however, one exception--_Norma_, in which the German singer may
challenge comparison with the Italian, and in which she occasionally
surpasses her. In the French and German repertoire the younger artist
has a decided advantage over the elder, in possessing a voice of such
extent as to be enabled to execute the music of the composers without
alteration of any kind. Everybody knows that Mlle. Titiens has not only
one of the most magnificent and powerful voices ever heard, but also one
of the most extraordinary in compass. To sing the music of _Donna Anna,
Fidelio, Valentine_, etc., without transposition or change, and to sing
it with power and effect, is granted to few artists. Mlle. Titiens is
one of these great rarities, and, therefore, without any great
stretch of compliment, we may assert that, putting aside the Rossinian
repertoire, she is destined to wear the mantle of Grisi."
In no previous season was Mlle. Titiens so popular or so much admired
as during the season of 1862. Her most remarkable performance was
the character of _Alice_, in Meyerbeer's "Robert le Diable." "Mlle.
Titiens's admirable personation of _Alice_," observes the critic of a
leading daily paper, "must raise her to a still higher rank in public
estimation than that she has hitherto so long sustained. Each of the
three acts in which the German soprano was engaged won a separate
triumph for her. We are tired of perpetually expatiating on the splendid
brightness, purity, and clearness of her glorious voice, and on the
absolute certainty of her intonation; but these mere physical requisites
of a great singer are in themselves most uncommon. Irrespectively of the
lady's clever vocalization, and of the strong dramatic impulse which she
evinces, there is an actual sensual gratification in listening to her
superb voice, singing with immovable certainty in perfect tune.
Her German education, combined with long practice in Italian opera,
peculiarly fit Mlle. Titiens for interpreting the music of Meyerbeer,
who is equally a disciple of both schools."