Although Mary Garden brought to America three of the best parts in her répertoire, Mélisande, Thais, and Louise, six rôles, at least, she has sung for the first time in this country, Sapho, Natoma, Dulcinée in _Don Quichotte_, Prince Charmant in _Cendrillon_, Salome, and Carmen. She first identified herself with the Spanish gipsy at the Philadelphia Opera House on November 3, 1911. On February 13, 1912, with the Philadelphia Company, she was heard in Bizet's opera in New York. I attended both of these performances and found much to admire in each of them. Something, however, was lacking; something was wrong; nobody seemed to know exactly what. The general impression was that Mary Garden had failed at last and it was generally bruited about that she would never sing Carmen again. However, Miss Garden is not one of those who permits herself to fail; it may be that she remembers Schumann's saying, "He who sets limits to himself will always be expected to remain within them."... In any case I was not surprised to learn that Miss Garden was singing Carmen at the Opéra-Comique in Paris during the season of 1916-17. In the fall of 1917 she sang the part in Chicago and on February 8, 1918, with the Chicago Opera Company, she reappeared in the part in New York. This occasion may be regarded as one of the greatest triumphs a singer has ever achieved. For Mary Garden had so entirely reconceived the rôle, so stepped into its atmosphere, that she had now made it not merely one of her great parts (it ranks with her Mélisande, her Monna Vanna, and her Thais) but also she had made it _her_ part. There is indeed no Carmen of the moment who can be compared with her.