During this season, also, there occurred under his management the American operatic début of Mrs. Norton-Gower, afterward known as Mme. Nordica. The operas performed were Bellini's _La Sonnambula_ and _Norma_, Rossini's _La Gazza ladra_, Donizetti's _L'Elisir d'amore_ and _Linda di Chamouni_, the Ricci brothers' _Crispino e la Comare_, Gounod's _Faust_, Flotow's _Martha_, Meyerbeer's _Les Huguenots_, and Verdi's _La Traviata_, _Rigoletto_ and _Aïda_. In 1884 Leopold Damrosch submitted to the directors of the Metropolitan a proposition for a season of German opera under his management, and, _faute de mieux_, the directors acceded. Dr. Damrosch secured a very strong company, including Amalia Materna, who, in Bayreuth, had created the part of Kundry in _Parsifal_; Marianne Brandt, also known in Bayreuth; Marie Schroeder-Hanfstängel of the Frankfort Opera, a pupil of Mme Viardot-García and the chief coloratura singer of the company; Auguste Seidl-Krauss, wife of Anton Seidl, then conductor of the Stadt Theater in Bremen, and Anton Schott, a tenor of considerable reputation in Wagnerian rôles, whose explosive methods led von Bülow to describe him as a _Militärtenor_--_ein Artillerist_. The list of operas given included Wagner's _Tannhäuser_, Beethoven's _Fidelio_, Meyerbeer's _Les Huguenots_, Weber's _Der Freischütz_, Rossini's 'William Tell,' Wagner's _Lohengrin_, Mozart's _Don Giovanni_, Meyerbeer's _Le Prophète_, Auber's _La Muette de Portici_, Verdi's _Rigoletto_, Halévy's _La Juive_, and Wagner's _Die Walküre_. It is not surprising that the season was a pronounced success. The receipts up to the middle of January were double those of the corresponding period in the previous year, though the prices had been reduced considerably. But the season was brought to a tragic close and the cause of German opera in New York was set back many years by the unexpected death of Dr. Damrosch on February 15, 1885.