Miss Kellogg, it is a pleasure to say, achieved a complete triumph and received the congratulations of the Prince and Princess of Wales and of everyone present.... And not a whit behind this was the great triumph she gained on the evening of June 19th, in her character of Aïda, without doubt the most impressive and ambitious of her impersonations, and which has won for her in America the highest praise from musical people and public on account of the intensity of feeling which she throws into the dramatic action and music. The London Times critic, who is undoubtedly the best in London, bestows praise in unequivocal language for the excellence of Miss Kellogg's interpretation. That Miss Kellogg has been so successful as a singer will be glad news to her friends, and that she has been so successful as an American singer will be still better news to those people who feel keenly for our national reputation as lovers and promoters of the fine arts.
In an interview in London Max Strakosch was asked with regard to his plans for another season:
"Why do you contemplate giving English opera instead of Italian?"
"For two reasons," he replied. "The first is that English is very popular now and the great generality of people in England and America prefer it. This is especially the case in England. The second reason is that, although Kellogg is the equal of an Italian operatic star, fully as fine as Gerster, immeasurably superior to Hauck, people with set ideas will always have their favourites, and partisanship is possible; whereas in English opera Kellogg stands alone, unapproachable, the indisputable queen."
"What is all this talk I hear about a lot of rich men coming to the front in New York to support Mapleson's operatic ventures with their money?"
"Why, it is all talk; that's just it. That sort of talk has been talked for years back, but they never do anything. Why didn't these rich men that want opera in New York give me any money? I stood ready to bring out any artists they wanted if they would guarantee me against loss. But they never did anything of the kind, and I have brought out the leading artists of our times at my own risks. The only man who's worth anything of all that lot that's talking so much about opera now in New York is Mr. Bennett. He's got the Herald, and that has influence."
"What do you think of Americans as an opera-going people?" he was asked.
"While we have many music-lovers in America, it is nevertheless a difficult matter to cater to our public," Max replied. "Here in England there is such an immense constituency for opera; people who have solid fortunes, which nothing disturbs, and who want opera and all other beautiful and luxurious things, and will pay largely for them. In America hard times may set everybody to economising and, of course, one of the first things cut off is going to the opera."
"Was all that gossip about disputes and jealousies between Kellogg and Gary last season a managerial dodge for notoriety?"
"Dear me, no. I haven't the slightest idea how all that stuff and nonsense started. Kellogg and Gary were always good friends. If Gary wasn't pleased with her treatment last year, why should she engage with us again? Besides, what rivalry could there possibly be between a soprano and a contralto? The soprano is the prima donna incontestably, the star of the troupe."