Die Walkueren, as given us by the Damrosch Company, are nine stout, comely young women, attired in costumes somewhat similar to the armor worn by Herr Lawrence Barrett's Roman army in Herr Shakespeare's play of "Der Julius Caesar." Readers of Norse mythology may suppose that these weird sisters were dim, vague, shadowy creatures; but they are mistaken. Brunhilde has the embonpoint of a dowager, and her arms are as robust and red as a dairy-maid's. As for Gerhilde, Waltraute, Helmwige, and the rest, they are well-fed, buxom ladies, evidently of middle age, whose very appearance exhales an aroma of kraut and garlic, which, by the way, we see by the libretto, was termed "mead" in the days of Wotan and his court. These Die Walkueren are said to ride fiery, untamed steeds; but only one steed is exhibited in the drama as it is given at the Columbia. This steed, we regret to say, is a restless, noisy brute, and invariably has to be led off the stage by one of das supes, before his act concludes. However, no one should doubt his heroic nature, inasmuch as the cabalistic letters "U. S." are distinctly branded upon his left flank. The Sieglinde of the piece is Fraeulein Slach, a young lady no bigger than a minute, but with wonderful powers of endurance. To say nothing of Hunding's persecutions, she has to shield Siegmund, elope with him, climb beetling precipices, ride Brunhilde's fiery, untamed steed, confront die Walkueren, and look on her slain lover, and, in addition to these prodigies, participate in a Graeco-Roman wrestling-match with an orchestra of sixty-five pieces for three hours and a half. Yet she is equal to the emergency. Up to the very last she is as fresh as a daisy; and, after recovering from her swooning-spell in the second act, she braces her shoulders back, and dances all around the top notes of the chromatic scale with the greatest of ease. She is a wonderful little woman, is Fraeulein Slach! What a wee bit of humanity, yet what a volume of voice she has, and what endurance! Down among the orchestra people sat a pale, sad man. His apparent lonesomeness interested us deeply. We could not imagine what he was there for. Every once in a while he would get up and leave the orchestra, and dive down under the stage, and appear behind the scenes, where we could catch glimpses of him practising with a pair of thirty-pound dumb-bells, and testing a spirometer. Then he would come back and re-occupy his old seat among the orchestra, and look paler and sadder than ever. What strange, mysterious being was he? Why did he inflict his pale, sad presence upon that galaxy of tuneful revellers?