Krauss had sung the bolero in the Vespri Siciliani; and Mlle.
Denise Bloch the drinking song in Lucrezia Borgia.
But the real triumph was reserved for Christine Daae, who had begun by singing a few passages from Romeo and Juliet.

It was the first time that the young artist sang in this work of Gounod, which had not been transferred to the Opera and which was revived at the Opera Comique after it had been produced at the old Theatre Lyrique by Mme.

Carvalho.
Those who heard her say that her voice, in these passages, was seraphic; but this was nothing to the superhuman notes that she gave forth in the prison scene and the final trio in FAUST, which she sang in the place of La Carlotta, who was ill.

No one had ever heard or seen anything like it.
Daae revealed a new Margarita that night, a Margarita of a splendor, a radiance hitherto unsuspected.

The whole house went mad, rising to its feet, shouting, cheering, clapping, while Christine sobbed and fainted in the arms of her fellow-singers and had to be carried to her dressing-room.