ill. At one point, where the opening of a new bridge had just taken

place, we stopped, and I noticed a private car attached to our train, which I coveted. Imagine my gratitude and pleasure, therefore, when the porter presently came to me and said courteously that "Colonel Cawyter" sent his compliments and invited me into his private car. I accepted, of course. But this was not all. As I was making inquiries about train connections and facilities for food, of one of the gentlemen in the car, he realised what was before me, and said that I could go to his home where his wife would care for me. I protested, but he insisted and gave me his card. When we reached the station, I took a carriage and drove to the house, where I was received very courteously. It was a simple household of a mother, grandmother, and children, and they had already lunched when I got there. But they piled on more coal, and in a very short time made me a lunch that was simply delicious--all so easily, simply, and naturally, in spite of the haphazard fashion in which they seemed to live, as to quite win my admiration. And this incident of Southern hospitality enabled me to proceed on my way nourished and restored.

Another incident that I recall was of a similar nature in its fundamental kindness. I had no money with which to pay for my berth, and was asking the conductor if there was anyone who would cash a check for me, when a perfect stranger offered me the amount I needed. At first I refused, but finally consented to accept the loan in the same spirit in which it had been offered.

On the reorganised version of this trip we went down into Texas, giving concerts in Waco, Dallas, Cheyenne, San Antonio, and Galveston, among other places. This was before the wonderful railroad had been built that runs for miles through the water; and before the tidal wave that wiped the old Galveston out of existence. At Cheyenne, I remember, we had to ford a river to keep our engagement. At Waco a negro was found under the bed of one of the company; a bridge was burning; and a _posse_ of men, with bloodhounds, was starting out to track the incendiaries. I remember speaking there with a negro woman who had a white child in her charge. The child was busily chewing gum and the woman told me that often the child would put her hand on her jaw saying, "Oh, I'm _so_ tired!" But she could not be induced to stop chewing! At Dallas we sang in a hall that had a tin roof, and, during the concert, a terrific thunderstorm came on, so that I had to stop singing. This is the only time, I believe, that the elements ever succeeded in drowning me out. I never before had seen adobe houses, and I found San Antonio very interesting, and drove as far as I could along the road of the old Spanish Missions that maintain the traditions and aspects of the Spanish in the New World. The Southern theatres are the dirtiest places that can be imagined; and I recall eating opossum that was served to us with great pride by my waiter.

From this time on I did not contemplate any long engagements. I did not care for them, although I sometimes went to places to sing--and to collect pewter!

I never formally retired from public life, but quietly stopped when it seemed to me the time had come. It was a Kansas City newspaper reporter who incidentally brought home to me the fact that I was no longer very young. I had a few grey hairs, and, after an interview granted to this representative of the press--a woman, by the way--I found, on reading the interview in print the next day, that my grey hairs had been mentioned.

"They'll find that my voice is getting grey next," I said to myself.

I really wanted to stop before everybody would be saying, "You ought to have heard her sing ten years ago!"

The last time I saw Patti I said to her:

"Adelina, have you got through singing?"

"Oh, I still sing for _mes pauvres_ in London," she replied; but she didn't explain who were her poor.

On my last western concert tour I sang at Oshkosh. A special train of three cars on the Central brought down a large delegation for the occasion from Fond du Lac, Ripon, Neenah and Menasha, Appleton and other neighbouring towns. The audience was in the best of humour and a particularly sympathetic one. At the close of the concert I remarked that it was one of the finest audiences I ever sang to. And I added, by way of pleasantry, that, having sung at Oshkosh, I was now indeed ready to leave the stage!

But there were even more serious reasons that influenced me in my decision, one of which was that my mother had for some time past been in a poor state of health. More than once, when I went to the theatre, I had the feeling that she might not be alive when I returned home; and this was a nervous strain to me that, combined with a severe attack of bronchitis, brought about a physical condition which might have had seriously lasting results if I had not taken care of myself in time.

It was not easy to stop. When each autumn came around, it was very difficult not to go back to the public. I had an empty feeling. There is no sensation in the world like singing to an audience and knowing that you have it with you. I would not change my experience for that of any crowned head. The singer and the actor have, at least, the advantage over all other artists of a personal recognition of their success; although, of course, the painter and writer live in their work while the singer and the actor become only traditions. But such traditions! On the subject of the actor's traditions Edwin Booth has written:

In the main, tradition to the actor is as true as that which the sculptor perceives in Angelo, the painter in Raphael, and the musician in Beethoven.... Tradition, if it be traced through pure channels and to the fountainhead, leads one as near to Nature as can be followed by her servant, Art. Whatever Quinn, Barton Booth, Garrick, and Cooke gave to stagecraft, or as we now term it, "business," they received from their predecessors; from Betterton and perhaps from Shakespeare himself, who, though not distinguished as an actor, well knew what acting should be; and what they inherited in this way they bequeathed in turn to their art and we should not despise it. Kean knew without seeing Cooke, who in turn knew from Macklin, and so back to Betterton, just what to do and how to do it. Their great Mother Nature, who reiterates her teachings and preserves her monotone in motion, form, and sound, taught them. There must be some similitude in all things that are True!

The traditions of singing are not what they used to be, however, for the new school of opera does not require great finish, although it does demand greater dramatic art. It used to be that Tetrazzinis could make successes through coloratura singing alone; but to-day coloratura singing has no great hold on the public after the novelty has worn off. But it does very well in combination with heavier music, as in Mozart's _Magic Flute_ or _The Huguenots_, and so modern singers have to be both coloraturists and dramaticists. _A propos_ of singing and methods, I append a newspaper interview that a reporter had with me in Paris, 1887. He had been shown a new dinner dress of white _moire_ with ivy leaves woven into the tissue, and writes:

I examined the rustling treasure critically and decided it was a complete success. The train was long, the stuff rich, the taste perfect, and yet--the great essential was wanting. I could not but reflect on the transformation which would come over that regal robe were it once hung on the shapely shoulders of the famous _prima donna_.

"You see, there is nothing like singing to fill out dresses where they should be filled out, and conversely," said Sbriglia, who happened to be present as we came back into the _salon_; "consequently my advice to all ladies who wish to improve their figure is to take vocal lessons."

"Yes," agreed Miss Kellogg, "if they can only find right instruction. But, unfortunately good teachers nowadays are rarer than good voices. Even the famous Paris Conservatory doesn't contain good vocal instruction. If there be any teaching in the world which is thoroughly worthless, it is precisely that given in the Rue Bergère. But I cannot do justice to the subject. Do give us your ideas, Professor, about the Paris Conservatory and the French School of voice culture."

"As to any French vocal school," replied Sbriglia, "there is none. Each professor has a system of his own that is only less bad than the system of some rival professor. One man tells you to breathe up and down and another in and out. One claims that the musical tones are formed in the head, while another locates them in the throat. And when these gentlemen receive a fresh, untrained voice, their first care is to split it up into three distinct parts which they call registers, and for the arrangement of which they lay down three distinct sets of rules.

"As to the Conservatory, it is a national disgrace; and I have no hesitation in saying that it not only does no good, but is actually the means of ruining hundreds of fine voices. Look at the results. It is from the Conservatory that the Grand Opera chooses its French singers, and the simple fact is that in the entire _personnel_ there are no great French artists. There are artists from Russia, Italy, Germany and America, but there are none from France. And yet the most talented students of the Conservatory make their _débuts_ there every year with fine voices and brilliant prospects; but, as a famous critic has well said, 'after singing for three years under the system which they have been taught, they acquire a perfect "style" and lose their voice.'

"You ask me what I consider to be the correct method. I dislike very much the use of the word 'method,' because it seems to imply something artificial; whereas in all the vocal processes, there is only a single logical method and that is the one taught us all by nature at our birth. Watch a baby crying. How does he breathe? Simply by pushing the abdomen forward, thus drawing air into the lungs, to fill the vacuum produced, and then bringing it back again, which expels the air. And every one breathes that way, except certain advocates of theoretical nonsense, who have learned with great difficulty to exactly reverse this operation. Such singers make a bellows of the chest, instead of the abdomen, and, as the strain to produce long sounds is evidently greater in forcing the air out than in simply drawing it in, their inevitable tendency is to unduly contract the chest and to distend the abdomen."

"Let me give you an illustration of the truth of M. Sbriglia's argument," said Miss Kellogg, rising from her seat. "Now watch me as I utter a musical note." And immediately the rich voice that has charmed so many thousands filled the apartment with a clear "a-a-a-a" as the note grew in volume.

"You see Miss Kellogg has little to fear from consumption!" exclaimed Sbriglia. "And I am convinced that invalids with disorders of the chest would do well to stop taking drugs and study the art of breathing and singing."

"And even those who have no voice," said Miss Kellogg, "would by this means not only improve in health and looks, but would also learn to read and speak correctly, for the same principles apply to all the vocal processes. It is astonishing how few people use the voice properly. For instance I could read in this tone all the afternoon without fatigue, but if I were to do this" (making a perceptible change in the position of her head), "I should begin to cough before finishing a column. Don't you notice the difference? In the one case the sounds come from here" (touching her chest) "and are free and musical; but in the other, I seem to speak in my throat, and soon feel an irritation there which makes me want the traditional glass of sugar and water."

"The irritation which accompanies what you call 'speaking in the throat,'" explained Sbriglia, "is caused by pressing too hard upon the vocal cords, that become, in consequence, congested with blood, instead of remaining white as they should be. Persons who have this habit grow hoarse after very brief vocal exertion, and it is largely for that reason that American men rarely make fine singers. On the other hand, look at Salvini, who, by simply knowing how to place his voice, is able to play a tremendous part like Othello without the slightest sense of fatigue.

"About the American 'twang'? Oh, no, it does not injure the voice. On the contrary, this nasal peculiarity, especially common among your women, is of positive value in a proper production of certain tones."

CODA

The Coda in music is, literally, the tail of the composition, the finishing off of the piece. The influence of Wagner did away with the Coda: yet, as my place in the history of opera is that of an exponent of the Italian rather than the German form, I feel that a Coda, or a last few words of farewell, is admissible.

In some ways the Italian opera of my day seems banal. Yet Italian opera is not altogether the thing of the past that it is sometimes supposed to be. More and more, I believe, is it coming back into public favour as people experience a renewed realisation that melody is the perfect thing, in art as in life. I believe that _Mignon_ would draw at the present time, if a good cast could be found. But it would be difficult to find a good cast.

Italian opera did what it was intended to do:--it showed the art of singing. It was never supposed to be but an accompaniment to the orchestra as German opera often is; an idea not very gratifying to a singer, and sometimes not to the public. Yet we can hardly make comparisons. Personally, I like German opera and many forms of music beside the Italian very much, even while convinced of the fact that German critics are not the whole audience. At least, the opera could not long be preserved on them alone.

It seems to me as I look back over the preceding pages that I have put into them all the irrelevant matter of my life and left out much that was important. Many of my dearest _rôles_ I have forgotten to mention, and many of my most illustrious acquaintances I have omitted to honour. But when one has lived a great many years, the past becomes a good deal like an attic: one goes there to hunt for some particular thing, but the chances are that one finds anything and everything except what one went to find. So, out of my attic, I have unearthed ever so many unimportant heirlooms of the past, leaving others, perhaps more valuable and more interesting, to be eaten by moths and corrupted by rust for all time.

There is very little more for me to say. I do not want to write of my last appearances in public. Even though I did leave the operatic stage at the height of my success, there is yet something melancholy in the end of anything. As Richard Hovey says:

There is a sadness in all things that pass; We love the moonlight better for the sun, And the day better when the night is near. The last look on a place where we have dwelt Reveals more beauty than we dreamed before, When it was daily ...

In our big, young country of America there are the possibilities of many another singer greater than I have been. I shall be proud and grateful if the story of my high ambitions, hard work, and kindly treatment should chance to encourage one of these. For, while it is true that there is nothing that should be chosen less lightly than an artistic career, it is also true that, having chosen it, there is nothing too great to be given up for it. I have no other message to give; no further lesson to teach. I have lived and sung, and, in these memories, have tried to tell something of the living and the singing: but when I seek for a salient and moving word as a last one, I find that I am dumb. Yet I feel as I used to feel when I sang before a large audience. Somewhere out in the audience of the world there must be those who are in instinctive sympathy with me. My thoughts go wandering toward them as, long ago, my thoughts would wander toward the unknown friends sitting before me in the theatre and listening. So poignant is this sense within me that, halting as my message may have been, I feel quite sure that somehow, here and there, some one will hear it, responsive in the heart.

INDEX

Abbott, Emma, in _Camille_, 70; meeting with, 272-275; 320

Academy of Music, the, _début_ of Kellogg at, 33; stage conditions at, 37; director of, 40; winter season at, 91; benefit at, 92; return to, 201; 258, 259, 263

Adam, Mme., 304

Adamowski, Timothie, 358

Adams, Charles, 298

Adams, Maud, in _Joan of Arc_, 66

Aïda, 292, 301, 302, 307

Albani, Mme., 235

Albertini, 294

Albites, suggestion of, 102

Alboni, Mme., Rovere and, 94; anecdote of, 175

Aldrich, Thomas Bailey, 47, 48

Alexander, John, 281

Amina, the _rôle_ of, 64; the opera of, 65; Murska as, 296

Amodio, 13; personal appearance of, 14; in _Don Giovanni_, 74

Amonasro, 307

Andrede, Joseph, 300

Annetta, 91; contrast between Marguerite and, 93; Malibran as, 94; Grisi as, 94; Kellogg as, 93, 94, 96

Anschutz, _Faust_ and, 78

Appleton, Tom, 46, 47

Arditi, 135, 138, 162-164, 168, 171, 173

Armitage, Sir George, 195-198

Association, Peace Jubilee, 235

Azucena, 249

Babcock, William, 7

Bachert, Pond and, 358

Balfe, 261, 262

_Ballo in Maschera_, 55, 62, 329, 338

Banjo, first mention of, 8; music of, 9; old man and the, 217, 218; accompaniment of, 358

_Barbiere, Il_, realistic performance of, 38; 56, 91, 97, 167, 277

Barbizon School, 306

Barlow, Judge Peter, 102

Barlow, Mrs. Samuel, 276-279

Bateman concerts, 101

Beecher, Henry Ward, 214

Beethoven, 78; Jubilee, 209; Okakura and music of, 219; reference to, 366

Behrens, Siegfried, 263, 264, 267

Bellini, 54; traditions of, 67; music of, 80

Benedict, Sir Jules, 6, 197, 261, 262

Bennett, James Gordon, 251, 303

Bennett, Mr., 164, 174, 238

Bentinck, Mrs. Cavendish, 190

Bernhardt, 208

_Beware_, Longfellow and, 46; singing of, 175, 178, 197

Bey, Khalil, 156, 157

Biachi as Mephistopheles, 86

Bianchi, Mlle., 329

Bierstadt, Albert, 160

Bizet, 305

Black, Valentine, 305

_Bohème, La_, 91

_Bohemian Girl, The_, 257, 259

Booth, Edwin, letter from, 16; on stage traditions, 366

Booth, Wilkes, 111

Borde, Mme. de la, in _Les Huguenots_, 13; voice of, 13

Borgia, Lucretia, Grisi as, 159

Bososio, Mlle., as Prascovia, 102

Boucicault, Dion, 15, 262

Brignoli, 13, 14; tour with, 22; temper of, 22, 23; origin of, 24; mascot of, 24, 165; point of view of, 24; anecdote of, 25; death of, 25; in _I Puritani_, 29; in opera with, 36; difficulties with, 41; in Boston with, 44; farewell performance for, 64; Americanisation of, 71; in _Poliuto_, 72; Gottschalk and, 107; mention of, 294, 358

Brougham, John, 15

Bulow, Von, 298

Burnett, Mrs. Frances Hodgson, 281

Burroughs, John, reference to, 288

Butterfly, Madame, 255

Cabanel, 306

Cable, George, 281

Callender, May, 276, 277

Calvé, 81; as Carmen, 291

_Camille_, Matilda Heron in, 15; public attitude toward, 69; mention of, 70; libretto of, 135

Campanini, Italo, 236, 237, 261, 295

Capoul, 184, 236, 237, 295

Carlton, William, 258-261, 265, 268, 275; Marie Roze and, 290

Carmen, 73, 91; Minnie Hauck as, 102; Kellogg in, 231, 236; in English, 254; Marie Roze as, 290; the _rôle_ of, 291; Calvé as, 291; music of, 305

Carvalho, Mme. Miolan-, 77; wig of, 82, 140; as Marguerite, 84

Cary, Annie Louise, 193; Kellogg and, 289, 292-294, 298, 304

_Castille, The Rose of_, 257

Castle, 257, 269, 270

Catherine, in _Star of the North_, 102; jewels for, 104; incident when singing, 267

Châtelet, Théâtre, 140

Christina, ex-Queen, 143, 144

Clarke, James Freeman, 50

Clarkson, Bishop, 300

Clover, Lieutenant, 357

Club, Stanley, 305

Colson, Pauline, tour with, 22; advice of, 26; example in costuming of, 27; illness of, 27

Combermere, Viscountess, 125; anecdote of, 128

Comédie Française, 15

Concerts, private, 168; Buckingham Palace, 179-186, 302; Benedict's, 197; tours, 200-203, 208, 227-230; trials of, 232-234; in Russia, 346

Conklin, Ellen, effect of slavery on, 58, 59

Conly, George, 256, 258, 275

Connaught, Duke of, 183, 184

Contessa, incident in Titjien's _rôle_ of, 169, 170, 239

Cook, W. H., 124

Coquelin, 304

Costa, Sir Michael, 169, 170, 194, 238, 267

Cotogni, 235, 337

Coulsen, 294

Crinkle, Nym, _see_ Wheeler

_Crispino e la Comare_, 91, 94; Cobbler in, 94; mention of, 97, 249

_Curiose, Le Donne_, 91

Cushman, Charlotte, attendance at theatre by, 33; evening in Boston with, 50, 52; in Rome with, 160; as Queen Katherine, 270, 271

Cusins, 176, 178

Custer, 57, 58

Czar, the, Ronconi and, 95; daughter of, 182, 183; signature of, 335; physician of, 337; Nihilists and, 338, 343; mourning of, 342; sight of, 350, 351; assassination of, 354, 355

Dahlgren, Admiral, 183, 357

_Dame Blanche, La_, 96

D'Angri, 13

_Daniel Deronda_, quotation from, 315-316

Davidson, 167, 190, 195

Davis, Jefferson, at West Point, 19; son of, 19; wife of, 20

Davis, Will, 256

Debussy, 79

Deland, Conly as, 258

de Reszke, Jean, in _L'Africaine_, 40; Sbriglia and, 313, 314

de Reszke, Josephine, 306

_Diavolo, Fra_, 16, 91; benefit performance of, 92, 93; fondness for, 97; scenes from, 159; Lucca in, 174, 249; Conly in, 256; mention of, 261; Habelmann as, 269

Dickens, house of, 241

Donizetti, 56; opera of _Betly_ by, 68; _Poliuto_ by, 71; music of, 80

Donna Anna, _rôle_ of, 74, 137; Titjiens as, 169, 170, 173; Kellogg as, 249

Doria, Clara, 246

Douglass, William, 126, 203

Duc de Morney, 360

Dudley, Lord, 189

Dufferin, Lord and Lady, 353

Dukas, 79

Duse, 208

_Dutchman, The Flying_, 257, 258, 263-265

Eames, Mme., 83

Edinburgh, Duchess of, 182, 183

Edward, Miss, 121, 137

Ehn, Mme., 329

Elssler, Fanny, 330

Elvira, Donna, 137, 170, 173

Emerson, 45, 221

Emory, Lieutenant, 357

_Ernani_, Patti in, 148, 155

Errani, 11

Eugénie, Empress, 149, 150

Evans, Dr., 150

Fabri, Count, 244

Falstaff, 91

Farragut, Admiral, 157, 158

Farrar, Geraldine, as Marguerite, 81, 83, 89

Faure, 145, 147, 178, 179, 184, 235, 323

_Faust_, first suggestion of Kellogg in, 40; anecdote about, 46; public attitude toward, 68; decision of Maretzek about, 75; on the Continent, 77; criticism of 78; estimate of 79; early effect on public of, 81, 89; Alice Neilson in 82; _Poliuto_ and, 88; liberties with score of, 88, 89; Santley in, 132; French treatment of, 140; in America, 240; mention of, 244, 307; Lucca in, 249, 250; Carlton in, 260; Drury Lane and, 132, 135, 137, 162, 174, 189, 261; Mike and, 266; Emma Abbott in, 274; testimonial, 298; libretto of, 333; mention of, 359

Fechter, Mr., 168

Federici as Marguerite, 80

Felina, 251-253, 331, 358

Ferri, tour with, 22; as Rigoletto, 33; blindness of, 33, 41

Fidelio, Titjiens as, 169

Field, Eugene, 271

Field, Mrs. Marshall, 279

Fields, James T., home of, 45; anecdote of, 46; friends of, 47, 48; opinion of "copy" of Mrs. Stowe, 49; hospitality of, 50; letter to, 89

Fioretti, 195

Fischoff, 326, 332

Flotow, opera of _Martha_ by, 73

Flute, playing of, 2; Lanier and, 51; Wagner's use of, 52

_Flute, The Magic_, 74, 146, 366; song from _The Star_ in, 173

Foley, Walter, 131, 167, 236

Foster, Mr., 338, 339

Franceschetti, 322

Frapoli, 299

_Freischütz, Der_, 254

French, art of the, 140

Fursch-Nadi, 310

Gaiety, 93, 94; Italian, 160

Gannon, Mary, 15

Garden, Covent, 129, 135, 167, 171, 172, 178, 194-196, 235

Garden, Mary, artistic spirit of, 40; English opera and, 255

_Gazza Ladra, La_, 166-168, 173

Gazzaniga, Mme., 294

Gerster, 303, 329

Giatano, Nita, 242, 243

Gilda, study of the _rôle_ of, 29; appearance in, 34, 35, 63; comparison with Marguerite of, 79; Kellogg as, 81

Gilder, Jeannette, 193, 280, 282; Ellen Terry and, 283

Gilder, Richard Watson, 192, 219, 221; Mrs., 279, 281; studio of, 280-282

Gilder, Rodman, 281

Gilder, William H., 280

Gilmore, Patrick, 309

_Giovanni, Don_, 62; under Grau in, 74; at Her Majesty's, 137, 167, 170, 173, 174, 197, 198; mention of, 249, 296, 342

Godard, 305

Goddard, Mr., 190

Goethe, 254

Goodwin, 168, 197

_Götterdämmerung, Die_, 91

Gottschalk, 106, 107, 295

Gounod, new opera by, 75; as revolutionist, 78, 79; mention of, 132; reference to, 133; in London, 140, 240-244; Gounod, Madame, 243

Grange, Mme. de la, in _Les Huguenots_, 13; in _Sonnambula_, 38; in _The Star of the North_, 102

Grant, General, in Chicago, 114, 115; President and Mrs., 266

Grau, Maurice, 67; _Traviata_ and, 69; in Boston with, 74, 258, 259; mention of, 300; Opera House, 307

Greeley, Horace, funeral of, 209

Greenough, Lillie, 277

Gridley, Lieutenant-Commander, 357

Grisi, opportunity to hear, 14; opera costumier and, 85; as Annetta, 94; family of, 158; story of, 159

Grove, Sir George, 262

Gye, Mr., 129, 135, 171, 172

Habelmann, Theodor, in _Fra Diavolo_, 96, 269, 270

Hall, Dr. John, 300

Hamilton, Sir Frederick, 342

Hamilton, Gail, 50

Hamlet, in French, 141; Nilsson in, 145; Faure as, 147; McCullough as, 282; mad scene in, 292, 329

Handel, Festival, 172; _Messiah_ of, 209; and Haydn Society, 298

Hanslick, Dr., 195; complimented by, 329-331

Harrington, Earl of, 126; ice-box of, 127; daughter of, 127; at the opera, 198

Harte, Bret, niece of, 319

Hauck, Minnie, as Prascovia, 102, 103; characterisation of, 103; mention of, 303

Haute, M. De la, 159

Hawaii, King of, 266

Hawthorne, Julian, 49

Hawthorne, Nathaniel, 48

_Hélène, La Belle_, 254

Heron, Matilda, 15

Hess, C. D., 256-259; benefit of Kellogg, 275

Heurtly, Mrs., 190

Hinckley, Isabella, 41; in _Il Barbiere_, 56; in _Betly_, 68

Hissing, custom of, in Spain, 145

Hoey, Mrs. John, 15

Hoffman, Baron, 329, 330

Holmes, Oliver Wendell, 46; breakfasts with, 52; opinion of English women of, 53

Hosmer, Harriet, 160

Howe, Julia Ward, 46, 49, 61

Huger, General Isaac, son of, 18, 57

_Huguenots, Les_, 91, 174, 295, 366

_Iago_, 307

Irving, Henry, great strength of, 40; repose of, 234, 248; first meeting with, 282; complaint of, 284; reforms of, 284, 285

Jackson, Helen Hunt, 281

Jaffray, E. S., 322

Jarrett, 120, 162, 163; daughter of, 163, 164, 168, 173, 198; Colonel Stebbins and, 173; Gounod and, 241; mention of, 249, 250, 251, 252, 253, 294, 300, 331

Jerome, Leonard, 188

Johnston, Sir Alan, 353

Jordan, Jules, 206, 207

Juliet, saying of Modjeska about, 70; Patti as, 194, 198; Romeo and, 240; Gounod and, 244

Karl, Tom, 298

Katherine, Queen, 270, 271

Keene, Laura, 15

Kellogg, Clara Louise, first appearance of, 6; description as a child of, 7; dress of, 8, 25, 26, 39, 40, 70, 84, 85, 135, 136, 137, 210, 265, 347; Muzio and, 11, 12, 13; early singers heard by, 13; histrionic skill of, 15, 16; resemblance to Rachel of, 16; _début_ as Gilda of, 33; as Marguerite, 40, 75-92; hospitalities toward, 44, 45, 93, 100, 101, 278, 279, 362, 363; wig of, 82-84; in Opéra Comique, 91-98; jewelry of, 93, 104, 105, 298; as Flower Prima Donna, 103, 202; Lucca and, 245-252; in English Opera, 254-270; favourite flower of; 266; in "Three Graces" Tour, 289-304

Kellogg, George, flute of, 2; failure of, 9; Irish servants and, 61; in New Hartford with, 67; story of, 231

Keppel, Colonel, 133

Korbay, Francis, 219

Krauss, 307

Küster, Baron, 338

La Farge, John, 219, 221, 280

_L'Africaine_, de Reszke in, 40; Lucca in, 249; Masini in, 341

Lang, 190, 198

Lanier, Sidney, 50; anecdote of, 51

Lascelle, 306

Lawrence, Alberto, 258

_Lecouvreur, Adrienne_, 282

Leonora, Marie Willt as, 152; Lucca as, 179; Morgan and, 269

Le Page, Bastien, 281

Leporello, Rockitanski as, 170

_Le Roi de Lahore_, 306

Librettos, inartistic, 255; Emma Abbott and, 274; texts of, 332

Liebling, 358

_Lily o'Killarney_, 261, 262

Lincoln, Abraham, call for volunteers by, 54; anecdote of, 110; death of, 111; lying-in-state of, 112-114, 118

Lind, Jenny, 5, 6, 294

Linda di Chamounix, first public appearance of Kellogg in, 25; Boston's attitude toward, 36; origin of, 36; story of, 36, 37; costuming of, 38, 39; Susini, in, 42; Mme. Medori as, 42; Kellogg in Boston as, 43, 50, 54, 62; teaching of, 63; comparison with Marguerite of, 79; _Clara Louise Polka_ and, 88; Patti in, 129; mention of, 132, 249; at Her Majesty's, 135, 167, 236, 238

Liszt, saying of, 234

Littlejohn, Bishop, 300

_Lohengrin_, 292

Longfellow, 46, 47; poems of, 46, 47; anecdote of, 47; letter by, 89; reference to, 221

Lorenzo, Conly as, 256

Loveday, Mme., 261

Lowell, 46, 47

Lucca, Pauline, Piccolomini's resemblance to, 14; travelling of, 28; as Marguerite, 82; in _Fra Diavolo_, 174; at rehearsal, 178, 179; at Buckingham Palace, 184, 185; at Covent Garden, 196, 235; in America, 240; Kellogg and, 245-250; as Mignon, 251; mention of, 294, 329

Lucia, Patti in, 15, 62; comparison with Linda of, 73; standing of, 73; Kellogg in Chicago as, 113, 237; _rôle_ of, 292; Kellogg as, 329

Maas, Joseph, 256-258, 261

Macci, Victor, opera by, 68

Macmillan, Lady, 284

Maddox, 194, 195, 246, 247

Maeterlinck, Mme., saying of, 103

Malibran, 94

Manchester, Consuelo, Duchess of, 184

Mancini, 359

Mansfield, Richard, mother of, 165

Manzocchi, 11

Mapleson, Col. J. M., 120, 139, 162, 166, 168, 170, 171, 173, 174, 198, 200, 235, 236, 241, 301, 302

Mapleson, Henry, 289, 290, 292-294, 303

Maretzek, Max, at the Academy, 40; during the war, 55; decision with regard to _Faust_ of, 75, 77, 78; Colonel Stebbins and, 85; Mazzoleni and, 86; _Faust_ and, 87, 88; benefit custom and, 91, 92, 119; in Philadelphia with, 201; saying of, 215; management of, 240

Marguerite, interpretation of, 42; estimate of, 80-84, 333; Nilsson as, 82, 129; costume of, 84, 85; Patti as, in France, 140, 141; reference to, 243, 263; Lucca as, 249, 250; Kellogg as, 359

_Maria de Rohan_, Rovere in, 95

Mario, Grisi and, 14; mention of, 147, 167, 185, 195, 196

Martha, 62, 73, 74; comparison with Marguerite of, 79; _Faust_ and, 88; as Opéra Comique, 91; at Her Majesty's, 135; Nilsson as, 145; Kellogg as, 249, 261, 329

Martin, Mrs., 202-207

Masaniello, 96

Masini, 338, 340, 341

Materna, Mme., 329, 331

Matthews, Brander, wife of, 69; reception by father of, 100, 101

Maurel, 141, 295, 306, 307

Mazzoleni as Faust, 86, 87

McCook, Alec, 18, 57

McCreary, Lieutenant, 18, 57

McCullough, John, 282, 300

McHenry, 143, 145, 148, 158, 167, 190, 197, 198

McKenzie, Sir Edward, 190, 300, 301

McVickar, Commodore, 121, 126

Medori, Mme., as Linda, 42; in Don Giovanni, 74

_Meister, Wilhelm_, 251, 252

_Meistersinger, Die_, 91

Melodies, negro, 1, 9, 117, 146, 305, 357

Menier, Chocolat, 243, 309

Meyerbeer, 90; craze for, 101; a song of, 102; son-in-law of, 328

Mignon, effect on audience of, 59; Polonaise from, 183, 229, 305, 358; Lucca and Kellogg in, 251; in English, 257, 260; Cary as, 293; cast of, 298; Kellogg as, 329, 330, 331; reference to, 370

Mike, 266

Millet, 11; son of, 282

Mind, sub-conscious, 13; workings of the, 35, 169, 216

Minstrels, negro, 8

Mireille, 240, 243

Mistral, 240

Modjeska, Helena, in _Adrienne_ _Lecouvreur_, 59; in Camille 69; saying of, 70; Okakura and, 281; Kellogg and, 282, 283; custom of, 352

Moncrieff, Mrs., 243

Morelli, 294

Morgan, Wilfred, 258, 259, 269

Mother, first mention of, 2, 3, 4; attitude toward theatre of, 30, 31; presence at performance of Gilda of, 35; in Boston with, 44, 52; in New Hartford with, 67; _Faust_ and, 81; character of, 108; anecdote of, 128; in England, 137; in Paris, 139, 143; diary of, 154-157, 163, 164, 166-168, 173, 174, 178, 197, 198, 308, 326; mention of, 186, 188, 190, 194, 195, 200, 252, 259, 286, 304, 307, 334; Eugene Field and, 271; in Russia, 349, 352-356; health of, 365

Moulton, melody of _Beware_ by, 175

Moulton, Mrs., 277

Mowbray, J. P., _see_ Wheeler

Mozart, operas of, 74; English and, 136; _arias_ of, 146; with Titjiens in operas of, 169; all-star casts of, 170; music of, 366

Munkacsy, 219

Murska, Mlle., Ilma de, 296

Muzio, 11; appearance of, 12; opinion of, 17; concert tour of Kellogg with, 22; Italian traditions and, 66; concert tour under, 72; polka by, 88

Napoleon III, 148, 149

Negroes, treatment of, 58; in New York during the war, 60; discussions regarding the, 60; anti-negro riots, 323

Neilson, Adelaide, 247

Neilson, Alice, in _Faust_, 82

Nevin, 322

Newcastle, Duchess of, 184, 188, 197

Newcastle, Duke of, 100, 125; in box of, 146, 167, 168, 173, 174, 188, 189, 191, 192; pin of the, 193, 194, 197, 198, 235

Newson, 6, 7

Nicolini, 130, 148, 184, 185

Night, Queen of the, Nilsson as, 146

Nilsson, Christine, as Marguerite, 82; in London, 129, 131, 132, 137, 169, 173, 235; as Martha, 145; voice of, 146, 147; superstition of, 165, 166; in opera with, 169; Sir Michael Costa and, 170; at Buckingham Palace, 184; friend of, 190; reference to, 196, 239, 252, 261, 294, 295, 326, 329

_Noces de Jeannette, Les_, 29, 62; libretto of, 68

Nordica, Lillian, 309, 310; Nevin's song and, 322; in Russia with, 337, 341, 347, 348

Norma, Grisi as, 158; reference to, 252

_Nozze di Figaro, Le_, 170, 171, 174, 197, 198, 249, 261

_Oh, had I Jubal's Lyre!_ 172

Okakura, 219-222, 281

Oldenburg, Prince, 346

Olin, Mrs. Stephen Henry, 276, 277

_Opera, The Beggar's_, 258

Opéra bouffe, 90

Opéra comique, 90, 91, 97; of Paris, 236

Opera, traditions of, 12, 77, 79, 263, 277; necessities of, 34; effect of war on, 55, 56; houses in America for, 68; early customs of, 84; innovations of, 87; benefit custom of, 91; Her Majesty's, 120, 129, 136, 171, 178, 235; French, 140, 141; English, 254-258, 260-303; translations of, 255, 256, 260, 261; Strakosch and, 303; Imperial, 326; in Petersburg, 334-342; preparation for, 367; province of Italian, 370

Ophelia, Modjeska as, 282; Kellogg as, 293

Othello, Salvini as, 283; in Munich 307

Oudin, Eugene, 277

Oxenford, 262

Palace, Buckingham, 176-179; concerts at, 179-186, 302

Palace, Crystal, 172, 174, 209

Palmer, Anna, 11

Paloma, La, 249

Parker, Minnie, 276, 277

Parodi, 294

_Pasquale, Don_, 96

Patey, Mme., 174

Patti, Adelina, 5; early appearance of, 15; as Marguerite, 82; voice of, 129, 130, 132, 323; in London 77, 129, 132, 135, 184, 185, 195-198, 235; sister of, 129; in Paris with, 308; comparison with, 330; questioning of, 365

Patti, Carlotta, 295

_Paul and Virginia_, 295

Peakes, 257

Pease, Miss Alta, 358

Pergolese, opera of _La Serva Padrona_ by, 14

Peto, Sir Morton, banquet of, 99

Petrelli, 272

Petrovitch, 338

Phillips, Adelaide, as Maddalena, 41; as Pierotto, 41, 248

Photography, new effects in, 208

Piccolomini, 14, 74

Pinchot, Gifford, sister of, 353

Pine, Louisa, 13

Pitch, absolute, 4, 165, 267; standard of, 231

Plançon, 312

Plantagenet, Lady Edith, 297

_Poliuto_, 62; plot of, 71; _Faust_ and, 88

_Polka, Clara Louise_, 88

Pond, Major, 360, 361

Pope Pius IX., 160

Porter, Ella, 11; in Paris, 84

Porter, General Horace, 19, 20, 57

Prascovia, Minnie Hauck as, 102, 103

Press, criticisms of the, 27, 35, 39, 42, 68, 70, 75, 78, 88, 89, 94, 97, 133, 135, 164, 200, 211, 215, 239, 240, 250, 252, 256, 258, 271, 279, 291, 358; standing of the, 328; in Vienna, 331; censorship in Russia of the, 336; interview, 366

Public, English, 136, 194, 237; American, 229, 230, 238; rival factions of the, 250; characteristics of the, 264, 296; Petersburg, 339; Boston, 358; charm of the, 365, 372

_Puritani, I_, Brignoli in, 29; Kellogg in, 54, 62, 63

Quinn, Dr., 168, 191, 235

Rachel, 16

Racine, 306

Rampolla, Cardinal, 161

Ramsay, Captain, 357

Ramsay, Col., 300

Randegger, 195

Rathbone, General, 300

Reed, Miss Fanny, in Boston, 45; in New York, 277, 278

Reeves, Sims, 174, 175

_Reggimento, La Figlia del_, 56, 58, 62; at close of Civil War, 114; Lucca in, 249

Renaud in opera, 40, 265

Rice brothers, 94

_Rigoletto_, 29, 34, 36; opinion of Boston of, 36; origin of, 36, 62; meaning of, 81, 167; Masini as, 341

Ristori, 16

Rivarde, 11

_Robert le Diable_, 86, 201, 332

Robertson, Agnes, 15

Robertson, Madge (Mrs. Kendall), 284

Robin, Theodore, 304-306

Rockitanski, 170

Ronalds, Mrs. Peter, 276, 277, 279

Ronconi, 94; The Czar and, 95; in _Fra Diavolo_, 95; anecdote of, 96

Rosa, Carl, 101

Rosa, Euphrosyne Parepa, 101, 209, 262

Rosina, 91, 93, 96, 97, 137

Rossini, 13, 97; reference to, 133; English and, 136; traditions of, 277; Nordica and, 310

Rossmore, Lady, 192, 198

Rota, 261

Rothschild, Baron Alfred de, 194, 198, 235

Rovere, 94

Roze, Marie, 236, 261, 289, 290, 292, 293, 298

Rubenstein, 246, 248

Rudersdorf, Mme. Erminie, 165

Ryan, Mr., 305

Ryloff, 269

_Salome_, suppression of, 69, 254

Salvini, 283

Sampson, Mr., 190, 198

Sandford, Wright, 126, 203

Santley, Ronconi and, 95; as Valentine, 132; kindness of, 134; as Almaviva, 137, 167, 168, 170, 173, 174, 184, 198

Sanz, 248, 249

Sargent, 281

Sbriglia, 310-313; Jean de Reszke and, 313, 314, 367-369

Scalchi, Sofia, 172, 185; in Petersburg, 337

Scarborough, Bishop, 300

Scola, lessons in acting from, 29, 38

Scott, Sir Walter, 261

Sebasti, 161

Seguin, Stella, 257, 258

Seguin, Ted, 258

Sembrich, Marcella, 337

Semiramide, 171, 277, 342

Senta, 263-265, 292

_Serenade, The Persian_, 223

Shakespeare in music, 141

Sherman, General, in Chicago, 114

Siebel, Miss Sulzer as, 87

Singing, methods of, 5; Grisi and, 158, 159; _prime donne_ and, 231; early, 307; Nordica and, 310; Sbriglia and, 311-321, 367-369; traditions of, 366

Sinico, Mme., 137

Sinnett, A. P., 189

Slezak, 312

Smith, Mark, 246

Society, Arion, 206

Somerset, Duchess of, 121-124; letters by, 125; beadwork of, 126, 137, 144, 197, 168, 188, 197

_Sonnambula, La_, 54, 62-64; teaching of, 65, 66; _aria_ from 67; Murska in, 296

Sonnenthal, 330

Southern, the elder, 15

Spofford, Harriet Prescott, 50

_Stabat Mater_, 310

Stackpoole, Major, 192, 197, 198

Stage, attitude toward, 11; Italian attitude toward, 12; English precedent of, 12; superstitions of, 24, 36, 165; primitive conditions of, 25, 27, 28, 37, 38, 87; in France, 140

Stanley, 189

_Star of the North, The_, 102; flute song of, 173; in English, 257, 266; quartette in, 267

_Star, The Evening_, 230

Stebbins, Colonel Henry G., 10; daughters of, 11; home of, 16; sister of, 33; _Faust_ and, 85; in England, 122-124, 137; in Scotland, 131; in France, 155, 158; daughter of, 160; friendship of, 171, 173, 174, 197, 198

Stevens, Mrs. Paran, in Boston, 44, 45, 278; sister of, 277

Stewart, Jules, 306

Stigelli, 33, 71, 294

Stowe, Harriet Beecher, 46, 49

Strakosch, Maurice, 130, 148; Napoleon and, 149; at Covent Garden with, 194, 198; Patti and, advice of, 294; methods of, 302

Strakosch, Max, 200, 201, 204, 205, 240, 289, 292, 294-296, 300, 303, 359

Strauss, 79, 254

Sulzer, Miss, 87

_Summer, The Last Rose of_, 135

Susanna, Kellogg as, 170, 240

Susini, name of, 22; as the Baron in _Linda_, 41; wife of, 41; sense of humour of, 42; salute of Grant and Sherman by, 115; mention of, 294

Tadema, Alma, 191

Tagliapietra, 358

_Talisman, The_, 261, 297

Talleyrand, Marquis de, 157, 158

_Tannhäuser_, 140, 230

Tennants, 189

Terry, Ellen, 234, 248; opinion of, 283, 284

Thalberg, 106; Strakosch and, 294

Theatre, in England, 131; in France, 140, 141; Her Majesty's 189, 235; traditions of the, 366

Theatre, Booth's, 267

Théâtre Comique, 307

Théâtre Français, 265, 306

Théâtre Lyrique, 145

Thomas, Ambrose, 146

Thomas, Theodore, at the Academy, 40; in Chicago, 321

Thomaschewski, Dr., 337, 347

Thompson troupe, Lydia, 69

_Thorough-base_, 2

Thursby, Emma, 298

Tilton, Mrs. Elizabeth, 214

Titjiens, in London, 77, 129, 132, 137, 139, 170, 173; pet of, 168, 169, 178, 179, 185, 196, 235, 239, 302

_Traviata_, Piccolomini in, 14; the part of Violetta in, 15, 62; libretto of, 68; public opinion of, 69, 70; Patti in, 130; at Her Majesty's, 135, 164; costume in, 136; rehearsal of, 163; success of, 164; Lucca in, 249; interpretation of, 291; Kellogg in 329, 338, 342; solo from, 357

Trebelli-Bettini, 236

Trentini, Emma, superstition of, 166

Trobriand, Baron de, opinions and stories of, 16

Trollope, Anthony, 46, 48

_Trovatore_, Mme. de la Grange in, 13; Marie Willt in, 153; Lucca in, 179; Kellogg in, 201, 249, 260, 261, 329; Carlton in, 268

Tschaikowsky, 306

Turner, Charles, 261

Valentine, Carlton as, 260; Kellogg as, 295

Vanderbilt, Frederick W., 300

Vanderbilt, William H., 197, 285, 286

Vane-Tempest, Lady Susan, 192, 197

Van Zandt, Miss, 307

Van Zandt, Mrs., 257

Verdi, mention of, 11; Falstaff of, 91; reference to, 133, 292, 298; meeting with, 307, 308; criticism of, 331

Vernon, Mrs., 15

Victoria, Queen, 177, 186, 301

Villiers, Colonel, 353

Violetta, 15; character of, 70; gowns of 70; jewels for, 104; Patti as, 130; costume of, 135; Kellogg as, 338; solo of, 357

Vogel, 307

Voltaire, house of, 143

Wagner, fondness of Kellogg for music of, 30; use of flute by, 52; as a revolutionist, 78, 263, 264, 265; reviewers and, 88; mention of, 90, 292; French idea of, 140, 253; von Bulow and, 298; Hanslick and, 329, 330

Walcot, Charles, 15

Wales, Prince of, 133, 164, 177, 178, 180-183; daughter of, 190, 192, 301, 302

Wales, Princess of, 178, 180-183, 302

Wallack, John, exclamation of, 16

Wallack, Lester, 300

_Waltz, The Kellogg_, 135, 138

War, Civil, West Point before the, 19; beginning of the, 54; attitude of public toward, 55; riots in New York during, 59-61; opera during the, 74, 75; close of, 110; after the, 201; reference to, 233, 359, 360

Wehli, James M., 201

Welldon, Georgina, 241-243

Werther, 91

West Point, primitive conditions of, 17; conspiracies at, 18

Wheeler, A. C., 42, 75

White, Stanford, 280

Whitney, M. W., 298

Widor, 305

Wieniawski, 246

Wig, for Marguerite, 82-84, 140; of Leuta, 265

Wilde, Oscar, 254, 255

Willt, Marie, anecdote of, 153

Witherspoon, Herbert, in Norfolk, 9; in New Hartford, 67

Wood, Mrs. John, 15

Worth, creations of, 136, 278, 279, 347, 348

Wyckoff, Chevalier, 148, 188

Yeats, Edmund, 246, 247

Young, Brigham, 298

Zerlina, Piccolomini as, 14; Kellogg as, 74, 91-93, 97, 137, 170; country of, 159; Lucca as, 249

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