same house on 10 October 1833. She also appeared as Petit-Jacques in Rossini's La pie voleuse (The Thieving Magpie) on 14 May 1835 and as Marguerite in Hérold's Le pré aux clercs on 15 May. In the 1836–1837 season she came to the attention of the leading tenor from the Paris Opera, Adolphe Nourrit, who returned to the Monnaie in June to appear in Robert le diable, followed by Auber's Gustave III and La muette, Rossini's Guillaume Tell, Boieldieu's La dame blanche, Halévy's La Juive, and Gaveaux's Le bouffe et le tailleur (in which Nourrit sang the role of Cavatini and Stoltz, Célestine). Impressed by her talent, Nourrit encouraged her and promised to arrange for her debut at the Paris Opera. This was delayed, however, since Stoltz disappeared so abruptly and completely, that many believed she might have died. It was later learned that on 2 March 1837 she had married Alphonse Lescuyer, director of the Monnaie, having given birth to his son, also named Alphonse, on 21 September 1836 in Brussels. Paris Opera Stoltz finally made her debut at the Paris Opera on 25 August 1837 in La Juive, partnered not by Nourrit, with whom she would never again appear, but with his rival Gilbert Duprez. Despite her stage fright, which she was unable to control, she was well received. After a subsequent performance, it was recognized that she possessed a pure voice with a fine timbre and a remarkable range. She was praised for the beauty of her tones in the contralto range and compared to one of the Opera's leading sopranos, Cornélie Falcon. On 6 September Stoltz appeared as Valentine in Meyerbeer's Les Huguenots, the other role for which Falcon was most renowned. Falcon was suffering recurrent vocal difficulties after losing her voice during a performance of Niedermeyer's Stradella in March 1837, and she withdrew from further performances at the Opera for an extended period after an appearance as Valentine on 15 January 1838. Stoltz's first creation at the Opera was Ricciarda in Halévy's Guido et Ginevra on 5 March 1838. Eventually Stoltz's place of prominence at the Paris Opera was influenced by her relationship with the director, Léon Pillet. Pillet refused to mount an opera without a role for his mistress; this was one reason for the long-delayed première of Meyerbeer's opera Le prophète, as the composer, who could not abide Stoltz, insisted on Pauline Viardot