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144
ANNALS OF THE
an excited beholder called out, " Begorra,
that bed '11
break down !" The engagement was but moderately
successful.
We now arrive at a rather remarkable epoch in Dublin
lyric art, viz., the first appearance of a native artiste in
Italian Opera.
Miss Catherine Hayes, a native of Limerick, who had
a few years before left Dublin for Italy, with all her
worldly wealth sewn up in her corset, commenced an
engagement in company with the following
artistes :
Herr Damcke, Signer Paglieri (tenor) ; Signer Bardini
(basso) ; Signor Galli (baritone) ; Miss Norman (con-
tralto). Prompter, Signor Salabert. Leader, Mr. Levey.
Catherine Hayes came heralded with a great Continental
reputation, having created the greatest sensation in all the
principal cities of Italy and France. The most flattering
and exciting criticisms from the leading journals had been
translated and inserted in the " locals," and London hav-
ing fiatcd her success, it is no wonder that she fulfilled all
the anticipations of her "compatriots," although the
voice had been a little " thinned " from extreme study
and hard work. She had evidently placed herself with a
great vocal master Garcia, it was said, with whom Jenny
Lind had also studied ; indeed, the similarity of style in
both artistes was evident, clearly proving the importance
of finding an experienced and careful teacher ; for many
voices have been ruined, even in Italy, by would-be
teachers, who knew nothing of the correct placing of the
vocal organ. Unfortunately Catherine Hayes
on this
occasion was not well supported. On the first night of