Grand opera in America . smoothly flowing, sensuous musicin the Venusberg score, and failed to delightone in the tournament of the minstrels, be-cause he sacrificed beauty and evenness of 248 Grand Opera in America. tone to dramatic intensity, he rose to a highpitch of excellence in the strong declamatorypassages of the last act. Madame Schroeder-Hanfstangl also madeher first appearance in this country underDoctor Damrosch in the season of 1884-85,and appeared as Elsa in Lohengrin, DonnaAnna in Don Giovanni, Gilda in Rigo-letto, etc. She came again in 1888-89 andagain in 1896, when she was sai
Grand opera in America . smoothly flowing, sensuous musicin the Venusberg score, and failed to delightone in the tournament of the minstrels, be-cause he sacrificed beauty and evenness of 248 Grand Opera in America. tone to dramatic intensity, he rose to a highpitch of excellence in the strong declamatorypassages of the last act. Madame Schroeder-Hanfstangl also madeher first appearance in this country underDoctor Damrosch in the season of 1884-85,and appeared as Elsa in Lohengrin, DonnaAnna in Don Giovanni, Gilda in Rigo-letto, etc. She came again in 1888-89 andagain in 1896, when she was said to be oneof the greatest bravura singers in the Hanfstangl was born at Bremenin 1848, and in 1866 was engaged at theTheatre Lyrique in Paris. After the Franco-German war she was at Stuttgart andVienna. It is said that she was veryhighly esteemed by Gounod and by AmbroiseThomas. On the death of Doctor Damrosch, thedirectors of the Metropolitan Opera Houseinvited Anton Seidl to assume the dutiesof Copyright, 1895, by A. Dupont, N. Y. ANTON SEIDL. German Opera, 249 Anton Seidl was born at Budapest in1850, and at the age of twenty entered theLeipzig Conservatory, where he studied fortwo years, and then became a private pupilof Hans Richter, at that time director of theopera at Budapest. Shortly after this Wagnerwrote to Richter asking him for a thoroughlycapable young man to act as his assistant andsecretary, — a man with exceptional musicalqualifications, writing a good hand and wellversed in orchestration, to help him in thework of preparing for the first production ofthe Ring at Bayreuth. Seidl was the man selected by Richter toundertake this task, and for five years he wasa member of Wagners household, duringwhich he made copies of the score of the Ring, and assisted in the work connectedwith the composition of Parsifal He alsoacted as repetiteur for the chorus and subor-dinate soloists. In 1878 Seidl went to Vienna as stage- 250 Grand Opera in Amer
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