the role of Hester Prynne in the fully staged premiere of Walter Damrosch's opera The Scarlet Letter in Boston. She sang in London at the Royal Opera House, Covent Garden, in 1899, 1900, 1901 and 1906. Some sources credit her with appearing at England's Worcester Festival but this is an error. Actually, she sang at America's Worcester festivals, held in the American state of Massachusetts during the late 1890s. Gadski was an extremely popular recitalist and in 1899 and 1900, she embarked on a lengthy concert tour of the United States. She had also joined the star-studded roster of singers at the New York Metropolitan Opera, singing there from 1898 to 1904 and again from 1907 to 1917. Around 1902 she met Mabel Riegelman, a young soprano in San Francisco, and brought Mabel and her sister Ruby Riegelman (who was also her chaperone and accompanist) to Berlin in 1903 as her guest, then settling the two sisters in Stettin to continue their musical studies. In 1911, Gadski and Mabel Riegelman took the to New York City, where Gadski arranged for her star pupil Mabel Riegelman to debut as Gretel in Engelbert Humperdinck's Hänsel und Gretel. The first ways-and-means affair held in the (Woman's Club of El Paso) clubhouse was a performance by Madame Johanna Gadski, singer, and her accompanist, Francis Moore, in December 1916. The net proceeds of $440.00 were used to buy furnishings and equipment for the clubhouse. During World War I, Hans Tauscher was accused of plotting sabotage against the Welland Canal along with Franz von Papen, Captain Karl Boy-Ed, Constantine Covani, and Franz von Rintelen. He was indicted with Franz von Papen but acquitted by a federal jury. After the United States entered World War I in 1917, the Metropolitan Opera suspended performances of works from the German repertory. Gadski was given the choice to resign or be dismissed from the Met because of her German links. Legend has it that she was deported from the United States as an enemy alien, but this is not true; she spent the duration of the war living quietly in New York and Lake Spofford, New Hampshire, and did not revisit Germany until 1922. Later years and death Gadski resumed her professional concert career in the United States in 1921; she did not, however, return to the operatic stage until 1928 when she sang in a production of Die Walküre