She wears her hair in the most trying of all fashions-- the Chinese, but, withal, looks sweetly pretty; as candid critics we are bound to say there was nothing astonishing in her execution - it wanted that neatness which her predecessor, Fuoco, so eminently possessed.

Still, it must be remembered that she is very young, and practice will make perfect for she is most graceful, especially in the position of that most difficult portion of the human frame divine - her arms.

She has sure and neat, if not astonishing, execution, she pirouettes well, though too often; points well, and not too often; uses her arms with classical grace, displays an abandon and degage manner that is perfectly charming, and dances with invariable artistic feeling.

Her success was decided, and she was recalled at the end of her pas de deux with M. Croce and after the fall of the curtain.”[4]Baderna's success continued with a triumphant appearance at Drury Lane in front of Prince Albert:"A divertisement followed the opera, in the course of which Mademoiselle Marietta Baderna danced the Chachoucha, with such elegance and vivacity as to obtain an encore, which was joined in from the Royal box.

[4] In 1850, Baderna moved to South America, giving performances in Rio de Janeiro, and lost her father to a yellow fever epidemic.