wo stars of importance appeared on the operatic
horizon,--Madame Marie Caroline Felix Miolan Carvalho, and Mlle. Theresa
Carolin Johanna Tietiens.

Madame Carvalho became the foremost lyric artist on the French stage,
and was engaged for many years at the Opera Comique and at the Grand
Opera in Paris, but she also sang frequently in London, Berlin, St.
Petersburg, and other cities of Europe. Her first public appearance was
made at a performance for the benefit of Duprez, her teacher, and she
sang in the first act of "Lucia," and in the trio in the second act of
"La Juive." Her last appearance, which took place in 1887, two years
after her retirement from the stage, was also at a benefit,--a concert
in aid of the sufferers by the fire at the Opera Comique. On this
occasion she sang with Faure.

Madame Carvalho was the daughter of an oboe player named Felix Miolan,
who educated her musically until she entered the Paris Conservatoire,
and studied with Duprez, gaining, in 1847, the first prize for singing.
Her voice was high and thin, but was used with consummate skill and
delicacy, and her interpretation of the role of Marguerite, in "Faust,"
was considered a most complete and delightful personation.

She was a native of Marseilles, born in 1827. In 1853 she married Leon
Carvaille, more generally known as Carvalho, who became director of the
Opera Comique. He held this position at the time of the fire; and, as
the accident was judged to have been due to the carelessness of the
management, Carvalho was fined and imprisoned. Madame Carvalho died in
1895, at Puys, near Dieppe.

Tietiens has been called the last of the great race of dramatic singers
made splendid by such as Pasta, Malibran, Grisi, and Viardot-Garcia.
Never was so mighty a voice so sweet and luscious in its tone. It had
none of the soprano shrillness, but was more of a mezzo-soprano quality
throughout, and softer than velvet. Her style of singing was noble and
pure, her acting was earnest, animated, and forcible, her stage presence
was imposing. Such parts as Norma and Lucretia Borgia are said to have
died with her, so grand was her interpretation of them, and she sang the
part of Ortrud in "Lohengrin" so finely that, in all probability, she
would have become noted as a Wagnerian singer had not death snatched her
away in her prime. No singer ever became more popular in England, where
she lived for many years, and where her death was considered as a
national