Sigismond Thalberg made triumphant tours round Europe between 1837 and 1848. For some musicians he was ‘the greatest pianist’, but for others Liszt was ‘the only pianist’. For the first concert on 12 April, his contributions were three of his own Fantasias on themes from Mozart's Don Giovanni, Donizetti's Anna Bolena, and Rossini's Mosè in Egitto. For the second , on 21 April, he played Fantasias on Donizetti's Lucia di Lammermoor and Rossini's Semiramide, and a ‘Grand Duo’ for two pianos on themes from Bellini's Norma.

After a three-year absence, Thalberg has returned both powerful and calm, as in the days of his earliest triumphs and, if possible, even happier. He in fact belongs to the small number of artists for whom everything succeeds, even success. It's not held against him that he has great talent, that he is favoured by glory and fortune; and were he to possess, together with Beethoven's genius, the name of Napoleon, and the wealth of the Banque de France, he would not be loved any the less. Does he take the trouble to become famous and rich? Not in the slightest. Before leaving for Paris, he writes to a friend (he has them) to announce his forthcoming arrival and a concert. The friend duly hires the Théâtre-Italien, orders a printer to put up notices: ‘Tuesday … April, first concert by M. Sigismond Thalberg’ and organises a wretched little orchestra, rickety, knock-kneed, peevish, made for playing overtures no one will listen to and accompanying singers who will hardly be heard. The day before the concert, the virtuoso arrives, puts together his programme in a few hours, looks in at the theatre for a few minutes to reassure himself that the beautiful ladies who dream of him will be there on his return, and next day, hey presto!, the house is full of them.