Mme. Trebelli, referred to in the last paragraph, was a popular Carmen here in the eighties, but it was not until Emma Calvé appeared at the Metropolitan Opera House in 1893-4 that _Carmen_ became a fetish. The Frenchwoman so completely fascinated the public in this rôle that she was seldom allowed to appear in any other, although her Santuzza, her Cherubino, her Anita, and her Ophélie were probably more artistic achievements. She was beautiful and wanton and wayward and thoroughly fascinating when she first appeared here in the rôle. Whether she became enamoured of herself in it later, or merely tired of it, does not appear to be certain; at any rate she allowed her mannerisms full sway and soon completely stepped out of the picture, the more completely as she frequently distorted the rhythms of the music. Calvé had the power, as few singers have possessed it, to colour her voice to express different emotions, and her vocal treatment of the part in the beginning was a delight. Her costumes were very wonderful. I have read criticisms of her and other Carmens, bearing on this point. But Carmen was a smuggler, a thief, even a murderess; she often had plenty of money, and she frequently dressed extravagantly. Mérimée does not leave us any room for doubt in this matter. The second time José sees her she is described thus: "Elle était parée, cette fois, comme une châsse, pomponnée, attifée, tout or et tout rubans. Une robe à paillettes, des souliers bleus à paillettes aussi, des fleurs et des galons partout." How many Carmens have we seen since Calvé! Zélie de Lussan, who gave an exquisite opéra-comique performance, with a touch of savagery and a charming sense of humour! Fanchon Thompson, who attempted to sing the part in English with Henry W. Savage's company at the Metropolitan Opera House but who broke down and left the stage after she had sung a few bars. Olive Fremstad, who had appeared in the part many times in Munich (all contraltos sing the part in Germany; even Ernestine Schumann-Heink has sung it there) was the Metropolitan Opera House Carmen for a season or two. Her interpretation followed that of Lilli Lehmann. It was very austere, almost savage, and with very little humour. Olive Fremstad was applauded in the rôle but she never succeeded in making the opera popular. [Illustration: OLIVE FREMSTAD AS CARMEN. ACT I] _from an early photograph by Lützel, Munich_