Elizabeth Forbes: Grisi, Giulia. In: Grove Music Online (englisch; Abonnement erforderlich).; der 28. Juli wird auch gelegentlich als ihr Geburtstag genannt; das ist jedoch der Geburtstag ihrer Schwester Giuditta.
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David R. B. Kimbell: Vincenzo Bellini – Norma (in der Reihe: Cambridge Opera Handbooks), Cambridge University Press, 1998, S. 111. Online in Auszügen als Google-Book (englisch; Abruf am 16. August 2020)
„perhaps, in some points, was an improvement on the model, because there was more of animal passion in it; and this (as in the scene of imperious and abrupt rage which cloes the first act) could be driven to extremity without its becoming repulsive; owing to the absence of the slightest coarseness in her personal beauty. There was in it the wild ferocity of the tigress, but a certain frantic charm therewith, which carried away the hearer – nay, which possibly belongs to the true reading of the character of the Druid Priestess, unfaithful to her vows.“
In: David R. B. Kimbell: Vincenzo Bellini – Norma (in der Reihe: Cambridge Opera Handbooks), Cambridge University Press, 1998, S. 111-112. Online in Auszügen als Google-Book (englisch; Abruf am 16. August 2020)
„Norma is Giulia Grisi, and never, for sure, did Irminsul have a priestess more lovely or better inspired. She surpasses the ideal. When she makes her entrance, upright and proud in the folds of her tunic, the golden sickle in her hand, a coronet of vervain on her head, her face a mask of pale marble, her black brows and her eyes a greenish blue like that of the sea, an involuntary cry of admiration fills the theatre … Norma is Giulia Grisi's triumph. No-one who has not seen her in this role can say that he knows her; in it she shows herself as great a tragédienne as she is perfect a singer. The art of song, passion, beauty, she has everything; suppressed rage, sublime violence, threats and tears, love and anger; never did a woman so pour out her soul in the creation of a role… Giulia Grisi achieves a sublimity in this (opening scene of act II) which has never been surpassed; truly this is the tragic Muse, the Melpomene of whom Aeschylos and Phidias might have dreamt.“ (engl. Übers. des französ. Orig.). In: David R. B. Kimbell: Vincenzo Bellini – Norma (in der Reihe: Cambridge Opera Handbooks), Cambridge University Press, 1998, S. 112. Online in Auszügen als Google-Book (englisch; Abruf am 16. August 2020)
Roberto Staccioli: Grisi. In: Mario Caravale (Hrsg.): Dizionario Biografico degli Italiani (DBI). Band 59: Graziano–Grossi Gondi. Istituto della Enciclopedia Italiana, Rom 2002.
(Brief vom 26. Januar 1835, in: Bellini: Epistolario, S. 501-503). Hier nach: Roberto Staccioli: Grisi. In: Mario Caravale (Hrsg.): Dizionario Biografico degli Italiani (DBI). Band 59: Graziano–Grossi Gondi. Istituto della Enciclopedia Italiana, Rom 2002.
„È molto tranquilla, distinta e non affettata nei modi. Le ho parlato ed essa mi ha risposto in modo molto gradevole“ (ursprl. aus: The girlhood of queen Victoria, S. 114; hier in italienischer Übers. nach Giazotto, S. 487). Roberto Staccioli: Grisi. In: Mario Caravale (Hrsg.): Dizionario Biografico degli Italiani (DBI). Band 59: Graziano–Grossi Gondi. Istituto della Enciclopedia Italiana, Rom 2002.
„…par l'éclat superbe de son regard, la majesté de son attitude dominatrice et cette expression souveraine que lui donne la certitude d'être parfaitement belle“. Hier nach: Roberto Staccioli: Grisi. In: Mario Caravale (Hrsg.): Dizionario Biografico degli Italiani (DBI). Band 59: Graziano–Grossi Gondi. Istituto della Enciclopedia Italiana, Rom 2002.
