annals of New York. On January 30th "Die Walküre" was performed, with
the following cast: Brünnhilde, Amalia Materna; Fricka, Marianne
Brandt; Sieglinde, Auguste Krauss; Siegmund, Anton Schott; Wotan, Josef
Staudigl; Hunding, Josef Koegel; Gerhilde, Marianne Brandt; Ortlinde,
Fräulein Stern; Waltraute, Fräulein Gutjar; Schwertleite, Fräulein
Morse; Helmwige, Frau Robinson; Siegrune, Fräulein Slach; Grimgerde,
Frau Kemlitz; Rossweise, Fräulein Brandl.

"Die Walküre" had been presented before in New York at a so-called
Wagner festival at the Academy of Music on April 2, 1877, under the
direction of Adolf Neuendorff; but the memories of that production
were painful when they were not amusing, and, though much of the music
of the Nibelung trilogy had been heard in the concert room, this was
practically the first opportunity the people of New York had to learn
from personal experience what it was that Wagner meant by a union of
arts in the lyric drama. Dr. Damrosch had made an earnest effort to meet
the standard set by the Bayreuth festivals. The original scenery and
costumes were faithfully copied, except that for the sake of increased
picturesqueness Herr Hock, the stage manager, had draperies replace the
door in Hunding's hut, which, shaking loose from their fastenings, fell
just before Siegmund began his love song, and disclosed an expanse of
moonlit background. In the third act, too, there was a greater variety
of colors in the costumes of the Valkyrior. Fräulein Brandt again
disclosed her artistic devotion by enacting the part of Fricka and also
leading the chorus of Valkyrior; but Mme. Materna was the inspiration of
the performance. It was a surprise to those who had already learned to
admire her to see how in the character of Brünnhilde she towered above
herself in other rôles. Both of the strong sides of the character had
perfect exemplification in her singing and acting--the wild, impetuous,
exultant freedom of voice which proclaimed the Valkyria's joy in living