Max Strakosch was an Austrian by birth and, having lived the greater part of twenty-five years in this country, considered himself an American. He began his career with Parodi, somewhere back in the rosy dawn of our operatic history. Parodi was a great dramatic singer--the only woman of her day--brought over as the rival of Jenny Lind. Later Max Strakosch was with Thalberg, after which he was connected with the importation of various opera troupes having in their lists such singers as Madame Gazzaniga, Madame Coulsen, Albertini, Stigelli, Brignoli, and Susini. In all these early enterprises he was associated with his brother Maurice. He would himself have become a musician, but Maurice advised differently. So, as he expressed it, he always engaged his artists "by ear"; that is, he had them sing to him and in that way judged of their availability. Maurice used to say to him, "If you are merely a technical musician you can only tell what will please musicians. If you have general musical culture, and know the public, you can tell what will please the public." And, as Max sometimes amplified, "I have discovered this to be correct in many cases. Jarrett, who acted as the agent of Nilsson and Lucca, is not a practical musician. Neither is Morelli, who is a great impresario; neither is Mapleson. But they know what the public want and they furnish it." After he separated from his brother in operatic management, Max travelled with Gottschalk, with Carlotta Patti, and first brought Nilsson to America. Capoul, Campanini, and Maurel all made their appearance on the American operatic stage under his guidance. Do you find your artists difficult to manage? [he was asked by a San Francisco reporter]. In some respects, yes, [was his reply]. They have certain operas which they wish to sing and they decline to learn others. The public get tired of these and demand novelty. With Miss Kellogg there is never this trouble. She knows forty operas and knows them well. She has a wonderful musical memory. She is a student, and learns everything new that is published. She has worked her way to her present high position step by step. She is sure of her position. She has an independent fortune, but loves her art and her country. But she is not obliged to confine herself to America. She has offers from London, Paris, and St. Petersburg, and will probably visit those places next season. She is just now at the zenith of her powers. She has learned _Paul and Virginia_, a very charming opera written for Capoul, and which will be given here for the first time in the United States. If we give our contemplated season of opera here she will sing Valentine in _The Huguenots_ for the first time. This same reporter has described Max as follows: