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Grau was followed by two other greats: Heinrich Conried 1903 - 1908 and the superbly organized and innovative Giulio Gatti-Casazza for 25 years from 1908 - 1935.It was said of Gatti-Casazza that he spoke no English - perhaps an exaggeration, and perhaps also a convenient role for him.From 1891-1898, Anton Seidl succeeded Theodore Thomas as Music Director of the New York Philharmonic, where he enjoyed a popularity of something like today's movie celebrities (never experienced by Theodore Thomas).As a consequence, the Philharmonic Society of New York experienced new financial prosperity.From the MET's initial performances in 1883, until 1891, the musicians who formed the Orchestra of the Metropolitan Opera were, for the most part, from the New York Symphony, particularly musicians other than the Principals.This would change beginning in the 1893-1894 season.Then, in 1882, Seidl toured with the Angelo Neumann Nibelungen Ring Company.The conducting reputation of Seidl was further consolidated during this tour.
The MET's inaugural season began on October 23, 1883 at its opera house at 39th and Broadway with a performance of Gounod's Faust.
In 1897, Anton Seidl conducted in London at Covent Garden.
Also in 1897, Anton Seidl organized a symphony orchestra, the Seidl Orchestra so named, that many thought would become a permanent New York feature, given the financial backing of the many Seidl admirers.
RETURN TO TOP 1884-1902 Walter Damrosch was born in Breslau, Prussia, some 100 km east of Dresden (now Wroclaw, Poland) on January 13, 1862, son of the conductor Leopold Damrosch (1832-1885). in 1871, a year after Leopold Damrosch had visited the U. At that time, Walter Damrosch was an assistant conductor, and advanced to the German repertoire under Seidl when Leopold Damrosch died in 1885.
Walter Damrosch, as well as studying under his father, attended the Dresden Conservatory, where he studied with Wilhelm Albert Rischbieter (1834-1910) and Felix Draeseke (1835-1913). At the MET, Walter Damrosch was respected in his conducting of Wagner, although contemporary critics wrote that he did not reach the heights of contemporaries such as Hertz, and well short of the very different approaches of Mahler or Toscanini.
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