An American, born in Farmington, Me., Lillian Nordica pursued her vocal and musical studies at the New England Conservatory, in Boston, and after much experience in church, concert and oratorio singing, studied for the opera in Milan, under Signor Sangiovanni. She made her operatic debut at Brescia in "Traviata," and in Paris as Marguerite, in "Faust." Her superb, liquid soprano is pure, smooth and equal throughout its entire large compass. She combines feeling with that artistic understanding which regulates it, and has been pronounced one of the most conscientious and intelligent singers of the day. An admirable actress and extremely versatile, she has been successful in Mozart's operas, and has won high renown in her Wagnerian roles. Emma Calve, a Spaniard, possessed of all a Spaniard's fire, thrills, bewilders, her hearers, though the more thoughtful among them wonder if they were not moved rather by her tremendous passionate force and powerful magnetism than by her vocal and histrionic art. Her voice is superb, yet she often loses a vocal opportunity for dramatic effect, often mars its beauty in the excitement that tears a passion to tatters. Withal there is a charm to her singing that can never be forgotten by those who have heard it. Her first triumph was won as the interpreter of Santuzza, in "Cavalleria Rusticana," Mascagni himself preparing her for the role. She next created a furore as Carmen, and with her fascinating gestures, complete abandon, grace, and dazzling beauty made the part one of the most original and bewitching impersonations on the stage. The Australian, Nellie Melba, who takes her stage name from Melbourne, her birthplace, has been compared to Patti as a vocal technician. Her voice is divine, but she seems powerless to animate her brilliant singing with the warmth that glows in her eyes. As an actress she completely veils whatever emotions she may feel, and while her marvelous vocalization overwhelms her audiences, she meets with her greatest triumphs in operas that make the least demands on the dramatic powers. Massenet wrote the title roles of his "Esclarmonde" and his "Thais" for a California girl, Sybil Sanderson, and himself trained her for their stage presentation. Her success was assured when she made her debut in the first-named opera at the Opera Comique, in Paris, in 1889. She has a voice of that light, pure, flexible quality so characteristic of our countrywomen, and is an admirable actress. She is a pupil of Madame Marchesi.