My first appearance in London this season was at a Royal Concert at Buckingham Palace to which, as before, I was "commanded." There were present many royalties, any number of foreign ambassadors, dukes, duchesses, marquises, marchionesses, archbishops, earls, countesses, lords, and viscounts. Her Royal Highness, the Princess of Wales wore, I remember, a gown of crème satin brocade trimmed with point d'Alençon, trimmed with pansy-coloured velvet; and her jewels were diamonds, pearls, and sapphires. Her tiara was of diamonds and she was decorated with many orders. Said an American press notice: Miss Kellogg, it is a pleasure to say, achieved a complete triumph and received the congratulations of the Prince and Princess of Wales and of everyone present.... And not a whit behind this was the great triumph she gained on the evening of June 19th, in her character of Aïda, without doubt the most impressive and ambitious of her impersonations, and which has won for her in America the highest praise from musical people and public on account of the intensity of feeling which she throws into the dramatic action and music. The London _Times_ critic, who is undoubtedly the best in London, bestows praise in unequivocal language for the excellence of Miss Kellogg's interpretation. That Miss Kellogg has been so successful as a singer will be glad news to her friends, and that she has been so successful as an American singer will be still better news to those people who feel keenly for our national reputation as lovers and promoters of the fine arts. In an interview in London Max Strakosch was asked with regard to his plans for another season: "Why do you contemplate giving English opera instead of Italian?" "For two reasons," he replied. "The first is that English is very popular now and the great generality of people in England and America prefer it. This is especially the case in England. The second reason is that, although Kellogg is the equal of an Italian operatic star, fully as fine as Gerster, immeasurably superior to Hauck, people with set ideas will always have their favourites, and partisanship is possible; whereas in English opera Kellogg stands alone, unapproachable, the indisputable queen." "What is all this talk I hear about a lot of rich men coming to the front in New York to support Mapleson's operatic ventures with their money?"