Eighteen hundred and eighty-two was London's great Wagner year. Hitherto we had been slowly paving the way only. Now, with almost startling suddenness, the metropolis found itself the scene of two weighty enterprises which were destined to give an even stronger fillip to the spread of the Bayreuth master's art than his own visit in 1877. To be candid, the double dose, taken well-nigh simultaneously, proved rather too heavy for the receptive capacity of the general public. But the German community again rallied in brave numbers to this musical call from the Fatherland, and, alike with money and plaudits, proffered substantial support to the cause. Early in the year a troupe had been formed by Herr Angelo Neumann for the purpose of performing “Der Ring des Nibelungen" in the leading cities of Germany, Austria, Holland, England, and Italy. The months of May and June were chosen for the London visit, and Her Majesty's Theatre was engaged. In all, four cycles of the tetralogy were given. Of these I attended two, and then for the first time felt that I was beginning to obtain an insight into the real scope and meaning of this gigantic work. The casts included not a few of the famous artists who had taken part in the initial representation of the “Ring” at Bayreuth in 1876,— among them Niemann, linger, the Vogls, Hill, Schlosser, and Lilli Lehmann (who sang Woglinde, Helmivige, and the "Bird" music); with that admirable artist, Reicher-Kindermann, as Brilnnhilde. The conductor was the lamented Anton Seidl, who then made his first appearance in London. He at once won the high approval of connoisseurs by the skill which he displayed— with by no means first-rate material— in bringing out with clearness, refinement, and intellectuality the beauties of Wagner's colossal score. It was through no fault of Seidl's that the representations were at many points open to criticism; nor, we may be equally sure, was he responsible for the number of extensive "cuts" which disfigured the last two of the four music-dramas.