I include here a letter written to someone in America just after this performance by Bennett of _The London Telegraph_ that pleased me extremely, both for its general appreciative friendliness and because it was a _résumé_ of the English press and public regarding my former and my present appearance in England. Miss Kellogg has not been forgotten during the years which intervened, and not a few _habitués_ cherished a hope that she would be led across the Atlantic once more. She was, however, hardly expected to measure herself against the _crème-de-la-crème_ of the world's _prime donne_ with no preliminary beat of drum and blowing of trumpet, trusting solely to her own gifts and to the fairness of an English public. This she did, however, and all the English love of "pluck" was stirred to sympathy. We felt that here was a case of the real Anglo-Saxon determination, and Miss Kellogg was received in a manner which left nothing of encouragement to be desired. Defeat under such circumstances would have been honourable, but Miss Kellogg was not defeated. So far from this, she at once took a distinguished place in our galaxy of "stars"; rose more and more into favour with each representation, and ended, as Susannah in _Le Nozze di Figaro_ by carrying off the honours from the Countess of Mlle. Titjiens and the Cherubino of Mlle. Nilsson. A greater achievement than this last Miss Kellogg's ambition could not desire. It was "a feather in her cap" which she will proudly wear back to her native land as a trophy of no ordinary conflict and success. You may be curious to know the exact grounds upon which we thus honour your talented countrywoman, and in stating them I shall do better than were I to criticise performances necessarily familiar. In the first place, we recognise in Miss Kellogg an artist, and not a mere singer. People of the latter class are plentiful enough, and are easily to be distinguished by the way in which they "reel" off their task--a way brilliant, perhaps, but exciting nothing more than the admiration due to efficient mechanism. The artist, on the other hand, shows in a score of forms that he is more than a machine and that something of human feeling may be made to combine with technical correctness. Herein lies the great charm often, perhaps, unconsciously acknowledged, of Miss Kellogg's efforts. We know at once, listening to her, that she sings from the depth of a keenly sensitive artistic nature, and never did anybody do this without calling out a sympathetic response. It is not less evident that Miss Kellogg is a consummate musician--that "rare bird" on the operatic boards. Hence, her unvarying correctness; her lively appreciation of the composer in his happiest moments, and the manner in which she