In the interval betwixt the years 1840 and 1848, the losses of the Dresden Opera were heavier than its gains. The great actress who threw all her strength and emotion into Weber's Shakspearian opera, ceased to appear on the stage; and the creative efforts made in the theatre, did not bring to light a new genius so much as a new element of decay and destruction for music.

The decline of Madame Schröder Devrient was more rapid than it should have been in a singer who is some years younger than the century.—But, in truth, a singer the lady never was, though she promised to become one in the early days when she appeared as Pamina in “Die Zauberflöte” at Vienna. Her voice, since I have known it, was capable of conveying poignant or tender expression, but was harsh, and torn—not so inflexible as incorrect. —It is a mistake to fancy that the German prime donne decline to attempt making an effect with executive brilliancy; they are as prodigal of roulades and shakes as the rest of the sisterhood—giving, however, the attempt in place of the reality; and only when their incompetency is made evident by comparison, falling back on that classical defence which sounds so well, costs so little, and has deceived so many, —“What would you have? I am a German singer.” —Madame Schröder Devrient resolved to be par excellence “the German dramatic singer.”