s selected by Wagner to sing Siegmund at Bayreuth, in 1876. Until he
came to America in 1886, and 1887, when his voice had long since
departed, his only appearances out of Germany were in the unsuccessful
production of "Tannhaeuser" at Paris, in 1861, and he sang in London in
'82. In 1887 he formally retired from the stage.

Heinrich Vogl won distinction as an interpreter of Wagner roles. He was
born in 1845, at Au, near Munich, and was instructed in singing by
Lachner, and in acting by Jenk, the stage manager of the Royal Theatre,
Munich. At this theatre he made his debut in 1865 as Max in "Der
Freischuetz." He was engaged at the same theatre almost permanently
after his debut and was always immensely popular. In 1868 he married
Theresa Thoma, also a singer of renown, and from that time they
generally appeared together.

Vogl played Loge, in the "Rheingold," and Siegmund, in "Walkyrie," when
they were produced in 1869 and 1870, and his greatest triumphs have been
gained in Wagner's operas. When the Trilogy was produced at Bayreuth, in
1876, he played the part of Loge, and was highly praised for his
admirable declamation and fine acting.

Theresa Vogl was the original Sieglinde, at Munich, and was very
successful in Wagner opera. She was born in 1846, at Tutzing, Bavaria,
and studied singing at the Munich conservatory, appearing first in opera
at Carlsruhe in 1865.

As Mario's powers began to wane, people wondered who would succeed him,
and many based their hopes on Antonio Giuglini, a native of Fano,
Italy. Giuglini was born in 1827, but did not appear in England until
1857, when he sang at Her Majesty's Theatre. He possessed a sweet, high
tenor voice and an elegance of style which some critics complained of as
cold, languid, and drawn out. His singing was without variety and his
acting colorless and tame. Notwithstanding all this, he was called by
one eminent critic "the best that has been heard since the arrival of
Tamberlik," seven years previously.

Giuglini's career was, however, of short duration, for he became insane
in 1862, and died at Pesaro three years later.

In 1872 a tenor appeared who at first seemed to be a worthy successor to
Mario,--Italo Campanini, who was born at Parma in 1846. He first
attracted public attention by singing the part of Lohengrin when that
opera was produced at Bologna, in 1871, and beginning with 1872, he was
engaged every season for ten years in London. His first engagement i