Daily globe., 1882-07-09

She then went through the part Of Al
SAGE to the Semiramide of Sontag, and,
it was said, never sang or acted better.
In 1880, Malibran became acquainted
with the distinguished Belgian violinist,
M. Charles de Beriot. He was In love
with Sontag, who not only did not care
for him. but was already engaged to
Count Rossi. Maria, from sympathiz-
ing with De Beriot in his disappoint-
ment, came to feel a warm regard for
him she also took the iveliest interest
in his superior talents, and ultimately
he reciprocated her attachment. In the
meantime, her husband, whom she had
constantly assisted, hearing of her won
derful success and of the extraordinary
sums she was earning. unexpectedly came
oyer from America. She had accumu-
lated some savings, and these she feared
her husbands presence in Europe would
rob her of. She declined to see him !;
but he was determined to have his rights,
and an arrangement was entered into,
Maria secretly resolving to abandon her
profession rather than submit to his
control over her earnings. Finally in
March, 1885, the French Tribunal grant
ed her a divorce from Malibran, and
when the time fixed by French law had
elapsed she was married to NJ. de Be-
riot, March %, 1886, in the presence OF
their intimate friends.
About month after this marriage she
was in England again, and while out
one day with riding party she was
thrown from her horse and sustained
serious injury from which she never re-
covered. She neglected to seek assist
ance while the hurt was fresh, and not
only refused to have any advice, but
concealed the affair from her husband
and sang the same night. Shewas then
at the height of her marvellous talent,
having never ceased to improve. Her
agonies from the effects of her fail were
at times fearful, but she struggled with
all the energy of her character and nev-
er yielded till death seized her.
When, in September, 1886, she sang
at the Manchester Musical Festival, she
was literally dying. On the evening OF
the second day she sang in the duet
from Andronico" with Madame Cara
dori Allen. The touching melancholy
of Malibran's singing on this occasion,
"her face pale and expressive as that of
a beautiful specter, her accents inspired
by soul all but ready to take its fight,
awakened an electric thrill in the
hearts of the audience. Forgetful
of her dying condition. passionately pos
sessed as it were by her marvellous
genius, they thoughtlessly redemanded
the duet. Their enthusiasm struck to
her heart, her cheeks flushed, she raised
her head, her eyes shone with prefer
natural luster, and she recommended.
Her voice was astounding; her soul ap-
peared poured forth IN each note, and
brilliant shake at the top of the voice
concluded the final effort"
From the theater she was carried to
her death-bed. All Manchester waited
in hegreatest anxiety for the bulletins of
her health. She died on the 23d of Sep
tember, 1886, in her 29th year, and the
intelligence of the death of one so
young, SO beautiful and so gifted was
received with universal sorrow. Her
husband, De Beriot, "raised circular
chapel to her memory at Lacken. In
the center was statue of Malibran, as
Norma, sculptured in white marble,
family illunined by a single ray of light
admitted from a dome, and surrounded
by masses OF shadow. 1T appears
says the Countess de Merlin, like
fantastic thought-like the dream of a
poet