But Clotilde Bressler-Gianoli sang the part fifteen times in Oscar Hammerstein's first Manhattan Opera House season; the performance of _Carmen_ at this theatre, indeed, saved the first season, as Mary Garden and Luisa Tetrazzini saved the second. Mme. Bressler-Gianoli, who had been heard at the Paris Opéra-Comique in the rôle, and indeed once with the New Orleans Opera Company at the New York Casino, gave a delightful interpretation; its chief charm was its absolute freedom from self-consciousness; it was so natural that it became real. Calvé sang the part four times at the end of this season. Mme. Gerville-Réache was another Manhattan Opera House Carmen and Lina Cavalieri was a fourth. Mme. Cavalieri was particularly charming in the dances, but she made a very unconvincing gipsy. In no part that she has ever played before or since has she produced such an impression of girlish innocence. Mariette Mazarin sang Carmen here before she was heard in _Elektra_. Her Carmen was brazen and diabolic, electric and strident; I think it might be included among the great Carmens; it was very original. Marguerite Sylva's Carmen is traditional and pleasant; in tone very like that of Zélie de Lussan. It has been sufficiently appreciated.... María Gay, the Spanish Carmen, attempted realistic touches such as expectoration; a well-sung, well-thought-out, consistent performance, but lacking in glamour. Although the Century Theatre with Kathleen Howard and others, and sundry small Italian companies had offered Carmen in New York the work was missing from the répertoire of the Metropolitan Opera House for several seasons until Geraldine Farrar brought it back in 1914-15.[5] The scenery and costumes were new. By way of caprice the Spanish army was dressed in Bavarian blue although José is several times referred to as _canari_ in the text. Caruso sang José, as he had with Mme. Fremstad, and Mr. Toscanini conducted. With the public Carmen has become one of Mme. Farrar's favourite rôles, sharing that distinction with Butterfly. Other Carmens who may be mentioned are Anna de Belocca, Stella Bonheur, Kirkby-Lunn, Ottilie Metzger, Emmy Destinn, Marie Tempest, Selina Dolaro, Camille Seygard, Alice Gentle, Eleanora de Cisneros, Jane Noria, Ester Ferrabini, Margarita d'Alvarez, Tarquinia Tarquini.... It might be said in passing that some Carmens do not get nearer to the Giralda Tower in Seville than Stanford White's imitation in Madison Square.