In 1865 Mme. Marchesi went to teach at the Cologne Conservatoire, where Antoinette Sterling came to her for a few lessons; while three years later she returned to Vienna to resume her post at the Conservatoire. This was resigned in 1878, but she continued to teach there for a time, after which she returned to Paris, and took up her work there again. In addition to those already mentioned, her pupils have included Suzanne Adams, d'Angri, Calvé, Ada Crossley, Eames, Evangeline Florence, Frau Gerster, Blanche Marchesi, Melba, Emma Nevada, Sybil Sanderson, Francis Saville, and Tremelli. Truly a wonderful record to add to the list of exponents of Manuel Garcia's method. In 1847 an important pupil was coming to Señor Garcia's studio--one who was destined to do great things hereafter. This was Johanna Wagner, the niece of Richard Wagner. Her musical ability already began to make itself noticeable at the age of five, when her father and uncle were residing at Würzburg; for she used to sing everything she heard, and the composer in after years would often laugh as he quoted these childish versions. In 1844, when Johanna was in her seventeenth year, her uncle obtained an engagement for her at the Royal Opera in Dresden, where he was preparing for the first performance of "Rienzi." Though of but tender years she had such success as Agathe in the "Freischütz," that she was engaged for three years by the management, and created Elisabeth in "Tannhäuser." On October 21, 1845, fifteen months later, the King of Saxony, who had taken the greatest interest in her progress, sent her to France to study under Garcia. She arrived at the beginning of February, accompanied by her father, who had hitherto been her only instructor. Thanks to the assistance which she received from Garcia during her stay in Paris, she quickly made her mark. On her return she went to Hamburg, creating Fides in the German version, and taking part in the first performance there of the "Prophète." In 1850 she left for Berlin, where she was permanently engaged by the management of the Royal Opera House. Whilst there Fräulein Wagner was a great favourite with the royal family, and frequently sang in private for Frederick William IV. and his Queen, being generally accompanied by Meyerbeer. In 1856 the prima donna appeared in London at Her Majesty's Opera House in "Tancredi," "Lucrezia Borgia," and as Romeo. In 1859 she married Herr Jackmann; two years later she lost her voice suddenly, and started on a second career as an actress, in which she made her name no less surely than as a singer. In this, Johanna Wagner resembled Geneviève Ward, for that famous tragédienne only entered upon a career of acting after having sung in opera under the name of Ginevra Guerrabella. With her, too, it was owing to loss of voice in consequence of overstrain that the change of career was adopted.