"A portion of two scenes from the first and second acts of Donizetti's opera of 'Linda di Chamounix' occupied the whole of the first part of the concert. "The first act opened with a _recitativo e cavatina_, selected from No. 4, on the words, 'Ah, tardai troppo e al nostro favorito.' "The _recitativo_ is in A flat major. But there are no flats or sharps in the signature: these are placed before the notes as required. When the transitions are rapid,--as they are in this piece,--it renders the reading very difficult in securing correct intonation. But notwithstanding these frequent changes, and intricate skipping intervals, Miss Anna accomplished the difficulty with ease, and perfectly in tune. The rapid cadence on the dominant was artistically rendered. "The aria follows with an allegretto in three-four time, and the execution in this division is very rapid; but the vocalist was equal to the task, and performed it with ease and grace. But the most astonishing feat was the cadenza in the cavatina: the singer, instead of closing on D flat,--fourth line of staff,--took an improvising flight, catching in that flight an appoggiatura grace on the note E flat above the lines; and closed with the D flat, a note below on the pause. "This was a dangerous flight for one so young: nevertheless, the note intoned was clear, distinct, and bell-like. "Miss Emma sang the alto in the 'Caro Ballato' with Miss Anna, in a duetto on the words, 'Qui si pria della partenza.' The alto takes the notes a sixth below the soprano, and her deep mellow voice produced a fine effect. The next is a _recitativo_ by soprano and alto. In this division the intervalic skippings are difficult; but they were correctly interpreted. The alto then takes up a larghetto in six-eight time, key D minor. This portion required much _con dolore_ expression, which was delivered with much tremolo effect by Miss Emma; and her rich, pure contralto voice in the low register told well. The scene finished with a duet by the two sisters, who were warmly and deservedly applauded. "The scene in act second contained much of the same forms of execution as the first, with the exception of a brilliant duetto in D major, which reminded me of that beautiful florid piece, 'Quest est homo,' from Rossini's 'Stabat Mater.' "This duet not only requires fine voices, but rapid execution also, or the rendition would be imperfect; but the sisters gave a charming interpretation to the piece.