In 1858 Chicago had its next operatic treat when the New Orleans English Opera Company--which assuredly did not come from New Orleans--gave a season of two weeks, presenting _La Sonnambula_, 'Daughter of the Regiment,' Auber's 'Crown Diamonds,' and _Fra Diavolo_, 'The Barber of Seville,' 'The Bohemian Girl,' 'Cinderella,' _Der Freischütz_, and _Il Trovatore_. The tenor rôles were sung by a lady. In the same year Carl Formes, whose reputation had outlived his voice, appeared with a strong company which carried no less than three conductors--the same being Carl Anschütz, Carl Bergmann, and Theodore Thomas. Maurice Strakosch with Amalia Patti, Brignoli, and the others of his troupe visited Chicago in 1859, giving _Il Trovatore_, _Martha_, _Norma_, _La Sonnambula_, _La Favorita_, and _Don Giovanni_--the last-named with a 'cast which has never been excelled in any opera house in Europe, New York, Boston, or Philadelphia.' From this time forward Chicago was supplied with opera almost exclusively from New York and was included in the itinerary of the tour with which nearly every New York company began or finished its season. The visits of the New York companies to Chicago varied in length from a week to four weeks. After Mr. Hammerstein sold out to the Metropolitan interests his forces formed the nucleus of a newly organized Chicago-Philadelphia Opera Company, which, under the management of Mr. Andreas Dippel and subsequently of Mr. Cleofonte Campanini, has since given Chicago regular seasons of opera rivalling in the standard of their achievement those given at the Metropolitan in New York. The Chicago-Philadelphia company has divided its season between the two cities after which it is named, besides making post-season trips to a number of Western cities. During the few years of its existence it has placed to its credit a number of notable achievements, including the first performances in America of Jean Nougues' _Quo Vadis_?; Ermano Wolf-Ferrari's _Il Segreto di Susanna_ and _Le Giojie della Madonna_; Victor Herbert's _Natoma_; Goldmark's 'Cricket on the Hearth' (in English), Massenet's _Cendrillon_ and _Don Quichotte_, and Franchetti's _Cristoforo Colombo_. Its regular repertory has been mainly that which prevailed at the Manhattan Opera House under Hammerstein. The same is true of most of its singers. Among the more notable additions to its list of artists have been Jeanne Korolewicz, Maggie Teyte, Caroline White, Lillian Grenville, Mario Guardabassi and Tito Ruffo, and it has also enjoyed frequent 'visits' from stars of the Metropolitan and Boston Opera Houses, with both of which it is closely affiliated.