[2][citation needed] After a tour in France and part of Germany, the influence and support of Count St. Antonio resulted in her engagement at King's Theatre in London, where she made her first appearance as Cherubino in Le nozze di Figaro on 12 January 1822.

Her voice is like her person, slender; but has tones of extreme sweetness and expression that go at once to the heart, with a happy facility of execution that appears the result of natural rather than acquired flexibility, so completely free is it from all show of difficulty or exertion.

If, as critics, we must find any fault, it is in rather a redundancy of ornament, but it is introduced in a manner so little interfering with the sentiment, and so charmingly executed, that we were more pleased with it than, as grave and judicious judges, we fear we ought to beHer salary for this first season was £300.

[1] In 1824, she married Mr. E. T. Allan, the secretary of the King's Theatre, where she was again engaged at a salary of £500, singing with Catalani in Mayr's Nuovo latico per la Musica, and (as a benefit for herself) as Zerlina in Don Giovanni.

[4] She sang in Venice in 1830, where she created the role of Giulietta in Bellini's I Capuleti e i Montecchi, but in 1834 re-appeared in Italian opera in London, and after 1835 remained mainly in England until her death.

There are two duets, "Le Due Rose", and Il Canto del Trovadore", both for ladies’ voices [Good review follows, praising her harmonic competence].

But our favourite among these songs is "Il sospiro": it is quite a little gem, full of fanciful tenderness, and original and imaginative in every bar.Her mother, Elizabeth de Munck (née Caradori), died in London in 1841, aged 79.