Never, in this country, has English opera been so creditably produced and so energetically managed as by the present Kellogg-Hess combination. All the business details being supervised by Mr. Hess, one of the longest-headed and hardest-working men of business to be found in even this age and nation, are thoroughly, systematically and promptly attended to; while all the artistic details, being under the direct personal care of Miss Clara Louise Kellogg, confessedly the best as well as the most popular singer America has produced, are brought to and preserved at the highest attainable musical standard. The performers embraced in the Hess-Kellogg English Opera Company comprise several artists of the first rank. The names of Castle, Maas, Peakes, Mrs. Seguin, Mrs. Van Zandt, and Miss Montague are familiar as household words to the musical world, while the _répertoire_ embraces not only all the old established favourites of the public, but many of the most recent or _recherche_ novelties, such as _Mignon_, and _The Star of the North_, in addition to such genuine English operas as _The Rose of Castille_. During the three seasons of our English Opera Company, we put on a great number of operas of all schools, from _The Bohemian Girl_ to _The Flying Dutchman_. The former is pretty poor stuff--cheap and insipid--I never liked to sing it. But--the houses it drew! People loved it. I believe there would be a large and sentimental public ready for it to-day. Its extraneous matter, the two or three popular ballads that had been introduced, formed a part of its attraction, perhaps. Our Devil's Hoof in _The Bohemian Girl_ was Ted Seguin who became quite famous in the part. His wife Zelda Seguin was our contralto and they were among the earliest people to travel with _The Beggar's Opera_ and other primitive performances. George A. Conly was our basso and a fine one. He was a printer by trade and he had his first chance with us at the Globe Theatre in Boston. He was our Deland, too, in _The Flying Dutchman_. Eventually, he was drowned; and I gave a benefit for his widow. Maurice Grau and Hess had gone to London to engage singers for my English Opera Company and had selected, among others, Wilfred Morgan for first tenor and Joseph Maas for second tenor. Morgan had been singing secondary _rôles_ for some time at Covent Garden. On our opening night of _Faust_ he gave out with a sore throat, and Maas took his place successfully. William Carlton once told me that when he was just starting out he bought the theatrical wardrobe of Alberto Lawrence, a baritone, and was looking at himself in a mirror, dressed in one of his second costumes, in the green room of the Academy of Music early during our English season, when Morgan came up to him and said: "Are you going on in those old rags?"