he was making a little fortune, and he now transferred his musical property for a large consideration to Signor Crevelli, the director of La Scala at Milan.  Here Julia Grisi met Pasta, whom she worshiped as a model of all that was grand and noble in the lyric art.  Pasta declared, “I can honestly return to you the compliments paid me by your aunt, and say that I believe you are worthy to succeed us.”  Here she enjoyed the advantage of studying the great lyric tragedienne, with whom she occasionally performed:  not a look, a tone, a gesture of her great model escaped her.  She was given the part of Jane Seymour in Donizetti’s “Anna Bolena,” which she looked and acted to perfection, Pasta personating the unfortunate Queen.  Madame Pasta, struck with the genius displayed by her young rival, exclaimed:  “Tu iras loin! tu prendras ma place! tu seras Pasta!” Bellini, who was then in Milan, engaged in the composition of his “Norma,” overwhelmed her with applause and congratulations, intermingled with allusions to the part he had in contemplation for her—­that of Adalgiza.

In November, 1831, there was a strenuous rivalry between the two theatres of Milan, La Scala and the Carcano.  The vocal company at the latter comprised Pasta, Lina Koser (now Mme. Balfe), Elisa Orlandi, Eugenie Martinet, and other ladies; Kubini, Mariani, and Galli being the leading male singers.  The composers were Bellini, Donizetti, and Majocchi.  At the Scala, which was still under the direction of Crivelli, then a very old man, were Giulietta Grisi, Amalia Schuetz, and Pisaroni, with Mari, Bonfigli, Pocchini, Anbaldi, etc.  To this company Giuditta Grisi was added, and a new opera by Coccia, entitled “Enrico di Montfort,” was produced, in which both the sisters appeared.  The company at the Scala received an accession from the rival theatre, the great Pasta, and soon afterward Donzelli, who ranked among the foremost tenors of the age.

Bellini had just completed “Norma,” and it was to be produced at the Scala.  The part of the Druid priestess had been expressly written for Pasta.  This Bellini considered his masterpiece.  It is related that a beautiful Parisienne attempted to extract from his reluctant lips his preference among his own works.  The persistent fair one finally overcame his evasions by asking, “But if you were out at sea, and should be shipwrecked—­” “Ah!” said the composer, impulsively, “I would leave all the rest and save ‘Norma’”!  With Pasta were associated Giulia Grisi in the role of Adalgiza, and Donzelli in Pollio.  The singers rehearsed their parts con amore, and displayed so much intelligence and enthusiasm that Bellini was quite delighted.  The first performance just escaped being a failure in spite of the anxious efforts of the singers.  Donzelli’s suave and charming execution, even “Casta Diva,” delivered by Pasta in her most magnificent style, failed to move the cold audience.  Pasta, at the end of the first act, declared the new opera a fiasco.  The second act was also coldly received till the great duet between Norma and Adalgiza, which was heartily applauded.  This unsealed the pent-up appreciation of the audience, and thenceforward “Norma” was received with thunders of applause for forty nights.