Mademoiselle Sontag, who is a very young, and certainly a pretty woman (from countenance and complexion rather than features), though far from being so transcendently handsome as represented, possesses a voice of great extent, brilliant clearness, and correct intonation. The upper notes are particularly good and pleasing, but the lower part of her voice is less sweet, and when forced beyond its natural strength, may be called rather shrill. It is not, in short, a true voce di petto, and has not the round, full, mellow tone peculiar almost to the Italians. Her powers of execution are very great, and the facility with which she performs difficult passages has perhaps never been surpassed. There is no appearance of effort or exertion, and no instrument could execute more neatly or correctly. But there is a want of feeling and expression, both in the tone of her voice and her manner of singing, which (if the truth be confessed) render her a less satisfactory singer than many who have not her powers or talent. She appears to excel most (as it is natural she should) in the music of her own country in her native language. An air which I have twice heard her sing from the Freyschütz with the original words, was very beautiful, and she executed it with a simplicity that made it truly delightful. It may be said, to her praise, that she is not lavish of ornament for the sake of showing of what she is capable. Of the theatrical performance I witnessed I am sorry not to be able to speak with equal commendation. The part of Donna Anna does not suit her, and by over exerting her voice, especially in the concerted pieces, the shrillness alluded to was more apparent.