The répertoire of the Century Opera Company during its first season included _Aïda_, _La Gioconda_, 'Tales of Hoffmann,' _Il Trovatore_, _Thaïs_, _Louise_, _Faust_, _La Tosca_, _Lucia_, 'Samson and Delilah,' 'Madam Butterfly,' 'The Bohemian Girl,' 'Romeo and Juliet,' _Rigoletto_, 'Haensel and Gretel,' _Cavalleria rusticana_, _Pagliacci_, _Manon_, _Lohengrin_, 'The Secret of Suzanne,' 'The Jewels of the Madonna,' _Tiefland_, 'Martha,' and 'Natoma.' The conductors were Alfred Szendrei and Carlo Nicosia. For its season of 1914-15 the Century considerably strengthened its forces, and particularly the orchestra, and it added a number of experienced singers to its roll. Most of its artists, it may be remarked, were Americans. The new conductors were Agide Jacchia, late of the Montreal Opera Company, and Ernst Knoch, who was formerly assistant to Richter, Bolling and others at Bayreuth. Jacques Coini, probably the most artistic stage director New York has had in connection with opera, was engaged in that capacity by the Century Company. The répertoire was largely that of the first season with the addition of _La Bohème_, 'Carmen,' and 'William Tell.' Of the entire list, ten were chosen by popular vote. Altogether the quality of the performances was considerably improved, most of the crudities of the first season being eliminated. But financially the enterprise, like all preceding efforts in the same direction, was not successful and the general support did not warrant the continuance of Mr. Kahn's subsidy, and consequently performances were suspended in the spring of 1915. Some sort of revival of the enterprise is devoutly to be hoped for. W. D. D. FOOTNOTES: [38] This was Manuel del Popolo Vicente García, father of Manuel García, the famous teacher, and of Maria Felicita García, who became Madame Malibran. [39] Da Ponte was the first professor of Italian at Columbia University, though he bore the title only by courtesy. He really did valuable work in promoting the study of Italian literature, particularly of Dante, in this country. His part in the promotion of Italian opera in New York was also far from a small one, as we shall see. [40] Translated and quoted by Dr. Ritter, _op. cit._, Chap. X. [41] William Michael Rooke was the son of a Dublin tradesman named Rourke or O'Rourke and was to a large extent a self-taught musician. For a time he taught the violin and pianoforte in Dublin--among his pupils on the former instrument being Balfe--and later he was chorus-master at Drury Lane under Tom Cooke, leader at Vauxhall under Sir Henry Bishop, and a conductor of oratorios at Birmingham. 'Amalie' was produced with success at Covent Garden in 1837.