Jeanette Anna MacDonald (June 18, 1903 - January 14, 1965) was an American singer and actress best remembered for her musical films of the 1930s with Maurice Chevalier (The Love Parade, Love Me Tonight, The Merry Widow and One Hour With You) and Nelson Eddy (Naughty Marietta, Rose-Marie, and Maytime). During the 1930s and 1940s she starred in 29 feature films, four nominated for Best Picture Oscars (

Unlike Nelson Eddy, who came from opera to film, MacDonald in the 1940s yearned to reinvent herself in opera. She began training for this goal with Lotte Lehmann, one of the leading opera stars of the early 20th century.  "When Jeanette MacDonald approached me for coaching lessons", wrote Lehmann, "I was really curious how a glamorous movie star, certainly spoiled by the adoration of a limitless world, would be able to devote herself to another, a higher level of art. I had the surprise of my life. There couldn't have been a more diligent, a more serious, a more pliable person than Jeanette. The lessons which I had started with a kind of suspicious curiosity, turned out to be sheer delight for me. She studied Marguerite with me--and lieder. These were the ones which astounded me most. I am quite sure that Jeanette would have developed into a serious and successful lieder singer if time would have allowed it."  MacDonald made her opera debut singing Juliette in Gounod's Romeo et Juliette in Montreal at His Majesty's Theatre (May 8 and 10, 1943). She quickly repeated the role in Quebec City (May 12), Ottawa, and Toronto. Her U.S. debut with the Chicago Opera Company (November 4, 11 and 15, 1944) was in the same role. She also sang Marguerite in Gounod's Faust with the Chicago Opera. In November 1945, she did two more performances of Romeo et Juliette and one of Faust in Chicago, and two Fausts for the Cincinnati Opera. On December 12, 1951, she did one performance of Faust with the Philadelphia Civic Grand Opera Company at the Academy of Music.  Claudia Cassidy, the music critic of the Chicago Tribune wrote: "Her Juliet is breathtakingly beautiful to the eye and dulcet to the ear." The same critic reviewed Faust: "From where I sit at the opera, Jeanette MacDonald has turned out to be one of the welcome surprises of the season... her Marguerite was better than her Juliet...beautifully sung with purity of line and tone, a good trill, and a Gallic inflection that understood Gounod's phrasing....You felt if Faust must sell his soul to the devil, at least this time he got his money's worth." Answer this question using a quote from the following article:

When did Jeanette MacDonald begin to express an interest in Opera?
She began training for this goal with Lotte Lehmann, one of the leading opera stars of the early 20th century.