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[257] was then living at Paris, at the height of his reputation as a trainer of vocalists. She desired to place herself under his instruction; but although she had been a leading performer at the Stockholm opera for a year and a half, she was still unable to afford the expense of a residence in Paris. To raise the money she gave concerts, accompanied by her father, in the principal towns of Sweden and Norway. Her concerts were successful, according to the standard of Sweden; nevertheless, she was compelled to make the journey alone, while her parents pursued their ordinary labors at home. Her first interview with Garcia was disheartening in the extreme.

“My good girl,” said he, after hearing her sing, “you have no voice; or, I should rather say, that you had a voice, but are now on the point of losing it. Your organ is strained and worn out; and the only advice I can offer you is to recommend you not to sing a note for three months. At the end of that time, come to me again, and I will do my best for you.”

Few readers can conceive of the dejection and tedium of such a period spent by this lonely girl, far from her home and country, and denied the consolation of exercising her talent.

“I lived,” said she once, “on my tears and my thoughts of home.”

At the appointed time she stood again in the master's presence. He told her that her voice was improved by rest and capable of culture. She placed herself under his instruction, and profited by it; but, strange to say, Garcia never predicted for her a striking success, either because her voice had not yet regained its freshness, or the old master's ear had lost its acuteness. He used to say that if she had as much voice as she had intelligence, she would become the greatest singer in Europe, and that she would have to sing second to many who had not half her ability.

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