The Lucca-Kellogg season which followed was not a comfortable one, but it netted us large receipts. The work was arduous, the operas heavy, and the management was up to its ears in contentions and jealousies. New York was in a musical fever during the early seventies. We were just finding out how to be musical and it was a great and pleasurable excitement. We were pioneers, and enjoyed it, and were happy in not being hide-bound by traditions as were the older countries, because we had none. One of the season's sensations was Senorita Sanz, a Spanish contralto, whose voice was not unlike that of Adelaide Phillips. She was a beautiful woman and a good actress, and, above all, she had the true Spanish temperament, languid, exotic and yet fiery. Her Azucena was a fine performance; and she created a tremendous _furore_ with La Paloma, which was then a novelty. She used to sing it at Sunday night concerts and set the audiences wild with: [Illustration: Musical notation; Cuan-do...... sa-lí de lo Ha-ba-na Vál-ga-me Dios!] Lucca's operas for the season were _Faust_, _Traviata_, _L'Africaine_, _Fra Diavolo_ and _La Figlia del Regimento_. Mine were _Trovatore_, _Traviata_, _Crispano_, _Linda_ and _Martha_, and _Don Giovanni_. It was to Lucca's _Zerlina_ that I first sang Donna Anna in _Don Giovanni_; and, as in the big concert at the Coliseum my friends had felt some doubts as to the carrying power of my voice, so now many persons expected the _rôle_ to be too heavy for me. But I believe I succeeded in proving the contrary. When we did _Le Nozze di Figaro_, Lucca was the Cherubino, making the quaintest looking of boys and much resembling one of Raphael's cherubs in his painting of the _Sistine Madonna_.