Since it was impossible to entertain any sound hopes of attraction from Verdi's "last new" opera. Mademoiselle Lind returned to her wonted triumphs (as did the theatre to its wonted "crushes"), by resuming the parts in which now, as heretofore, she was sure to be rapturously hailed by the public. To these was added the Susanna of the "Nozze di Figaro," to which character she brought not only her customary and recognised qualities as an accomplished singer, but the true Mozartian traditions. With these her early training had rendered her familiar, and subsequent study had confirmed the lesson. It was new to the public to listen to a singer so thoroughly imbued with the genius of Mozart, in one of his chefs d'oeuvre. Unlike many Italian singers, who considered that, in faithfully executing Mozart, they sacrificed themselves to the exigencies of an old- fashioned English predilection, Jenny Lind revelled in her music. Her whole soul was in the work.