Miss Russell left Solomon when she learned that another woman claimed to be his wife and returned to the United States. She joined the Duff Opera Company, with which she remained until May, 1888, when she again resumed her place at the head of the New York Casino forces, singing first the Princess in "Nadjy," the part originated by Isabelle Urquhart, when the opera was first produced in New York. The revival ran for something like two hundred nights; and the popular "Nadjy" was succeeded by "The Brigands," which was also very successful. The years of her greatest success already referred to then followed. During the season of 1897-98 Miss Russell appeared with Della Fox and Jefferson DeAngelis in "The Wedding Day;" and her last appearances in opera were in April, 1899, in "La Belle Helene" with Edna Wallace Hopper. During the season of 1899-1900, Miss Russell was with the Weber and Fields Company, whose clever burlesques make life in New York so merry. Miss Russell was recently asked which one of the many operas in which she had appeared was her favorite. "'The Grand Duchess,'" she replied emphatically. "That, to my mind, was one of the best comic operas ever written. Then I had a beautiful part in 'Girofle-Girofla' and 'La Perichole,' but 'The Grand Duchess' was my favorite." [Illustration: LILLIAN RUSSELL As "The Queen of Brilliants."] Miss Russell also described interestingly her methods of working up a part:-- "How do I study my parts? Well, every one has his or her own peculiar idea of study and rehearsal, but the true artist always arrives at the same result, with the aid of a clever stage manager and musical conductor. When a part is handed to me, generally six weeks before the opening night, I read it through carefully, picture myself in different positions in the several scenes, and then I separate the music from the dialogue and study the music first. The majority of the operas in which I have recently appeared are of the French or Viennese school, and in the translation there will sometimes appear a word or a sentence that does not harmoniously fit the music. Of course this must be altered before it is finally committed to memory. Then, again, we are all inclined to think ourselves wise enough to improve upon the composer's work, and where a chance is found to introduce a phrase to show one's voice to better advantage, as a rule, the opportunity is not neglected.