The double interest excited by her brilliant talent as a vocalist, and by the peculiar circumstances under which she has again sought the scene of her former triumphs, has been so strong, that by this time few can be unacquainted with the leading incidents of the Countess Rossi's career. A humble origin, the precocious development of an exquisite voice and of extraordinary aptitude for music, the conquest with almost unexampled rapidity of a place beside the first singers of the day, a few short years of theatrical triumphs, an advantageous marriage, loss of fortune, return to the stage--and the tale is told. Even in this meagre outline there is no slight savour of the romantic. "The Countess Rossi," it has been truly observed by a French writer, "has scarcely performed in any lyrical drama fuller of incident and romance than her own life. For her the line of flame which in theatres separates the real from the ideal world, has not existed."[7] Doubtless the details of this accomplished lady's life would be otherwise interesting than the bare outline of its leading events with which the world is fain to content itself. Twenty-five years, divided between the aristocracy of musical talent, and the aristocracy of diplomacy and high birth, must afford rich materials for autobiography. Nor would the period of her childhood be without its strong attraction, were she able to remember, and pleased to tell, of those days of infantine renown, when Coblenz and the banks of Rhine rang with praises of the seven-year-old songstress, whose parents, although they had the good sense to refuse the solicitations of managers, anxious to produce the prodigy, would yet at times place her on their table, and bid her sing for the gratification of admiring friends. Her first appearance in public was at the age of eleven, on the Darmstadt theatre; and perhaps even now that dullest of German capitals remains in her memory as a place of brightness and beauty, associated as it is with her early and complete success. But little Henrietta was not yet to continue the career she had so auspiciously begun. Hot theatres and unlimited praise composed a dangerous atmosphere for one so young, and her next step was to the Conservatory or great musical school at Prague, to the head of which she speedily made her way. At the age of fourteen or fifteen her proficiency in the various branches of her art was so great, that her cautious parents had scarcely a pretext for withholding her longer from the stage, which she manifestly was destined to adorn. Still they hesitated, when accident cast the die. The _prima donna_ of the Prague opera was taken ill: not of one of those fleeting maladies to which singers and dancers are proverbially liable--and which appear an hour or two after noon, to disappear in time for a late breakfast next morning--but seriously, and without hope of speedy recovery. The despairing manager appealed to the pity of the Sontags. His only hope was in Henrietta, and Henrietta was allowed to appear upon the boards of the Imperial Opera of Prague--a theatre to which immortality is secured by the first performance of the _Nozze di Figaro_ and the _Clemenza di Tito_ having taken place within its walls. From a recently published and authentic sketch of Madame Sontag's professional life,[8] we extract an account of her entrance.