For several years following there is nothing much to note. The operatic situation was summed up in the alternate quarrels and reconciliations of Maretzek, Ullman, and the brothers Maurice, Max, and Ferdinand Strakosch, all of whom at various times have taken occasion to speak of the sacrifices they made for Italian opera in New York. As a matter of fact, opera was to all of them what the green table is to the confirmed gambler. Yet they accomplished much, and, though they relied mainly on the hackneyed list of Rossini, Donizetti, and Bellini, they introduced New York opera-goers, during the sixties and seventies, to a number of novelties. Among these may be mentioned Meyerbeer's _L'Africaine_, _Le Pardon de Ploërmel_, and _L'Étoile du Nord_, Verdi's _Aïda_, Gounod's _Faust_, Thomas's _Mignon_, Wagner's _Lohengrin_, and the _Crispino e la Comare_ of the Ricci brothers--all in Italian. Maurice Strakosch was responsible for the presence in America of Christine Nilsson and of Italo Campanini, both distinguished artists who held a high place for many years in the affections of New Yorkers.[45] By far the most noteworthy operatic event of the sixties was a season of German opera given by Carl Anschütz at the old Wallack Theatre on Broadway and Broome Street in 1862. The principals of the Anschütz company were mediocre, though they included Mme. Johannsen, but there was a good orchestra and a well-trained chorus. The list of operas included Mozart's _Die Zauberflöte_, _Don Juan_, and _Die Entführung aus dem Serail_, Beethoven's _Fidelio_, Weber's _Freischütz_, Auber's _Le Maçon_, and Flotow's _Martha_ and _Stradella_. Unfortunately, no social glamour was attached to the enterprise, nor were the times especially propitious to it, and it soon failed. In the seventies there was a great vogue of the Offenbach _opéra bouffe_, and such airy trifles as _La belle Hélène_ and _La grande duchesse_ occupied the public interest to the exclusion of more serious musical fare. As is usually the case in America, the interest reached the intensity of a mania and it was necessary that public curiosity be satisfied by a sight of the composer himself. Accordingly Offenbach came over in 1875. But as soon as the people had satisfied their curiosity they lost all interest in him and his tour was a complete failure.[46] In 1876 Mlle. Teresa Tietjens came to America under the management of Max Strakosch and appeared at the Academy of Music with great success, especially in _Norma_ and _Lucrezia Borgia_. Two years later a short season of opera was given at the Academy by a German company headed by Mme. Pappenheim and Charles Adams. It was far from successful, but during its brief existence New Yorkers had an opportunity of hearing Wagner's _Lohengrin_, _Tannhäuser_, _Der fliegende Holländer_, and _Rienzi_, Halévy's _La Juive_, and Gounod's _Faust_.