Like all true artists she [Amalie Joachim] was equally good in the simplest song as when rendering a great dramatic part like, for instance, that of the heroine in Gluck's Iphigenia in Tauris, a performance of which, at the Berlin Sing-Akademie in 1871, was the first occasion on which I had the honour and privilege of singing with her in public. Although she had slightly to transpose the part to quite suit her range of voice, her singing of it was a beautiful revelation of dramatic power and restraint, a splendid example of plastic modelling in expression.