Among the great prime donne who sang in Norwich during the “sixties" and “seventies,” none was more deservedly popular than Theresa Tietjens. Those of my American readers who saw her when she appeared with Mr. Mapleson's troupe at the Academy of Music, New York, in 1876, cannot fail to have a vivid recollection of her genius both as a singer and an actress. Then, however, she was just approaching the tragical climax of her brilliant career. When I first heard her, at one of the general rehearsals for the festival of 1866 (some eight years after her debut in England), her voice was not only fresh, powerful, and penetrating, but it possessed in a greater degree than then that sympathetic charm—that curiously dramatic “human" quality—which was perhaps its most notable attribute.