After the resignation of Mr. Conried from the Metropolitan, Giulio Gatti-Casazza and Andreas Dippel were appointed managers. The former had been director of La Scala in Milan, and the latter for several years had been a prominent and versatile member of the Metropolitan company. Apparently the design in conjoining them was to give equal representation to the Italian and German sides of the house. The results for the season 1908-9 were very pleasing and there was a good admixture of Italian and German operas, without any startling revolution in the general character of the repertory. The novelties were d'Albert's _Tiefland_, Smetana's _Die Verkaufte Braut_, Catalini's _La Wally_, and Puccini's _Le Villi_, while there were revivals of Massenet's _Manon_, Mozart's _Nozze di Figaro_, and Verdi's _Falstaff_. The most notable addition to the Metropolitan forces was Arturo Toscanini, who came from La Scala as conductor of Italian opera. Hertz and Mahler remained as conductors of German opera, though Toscanini led performances of _Götterdämmerung_ and _Tristan und Isolde_ with apparent gusto and brilliant success. Among the new singers were Emmy Destinn, Frances Alda, Bernice di Pasquali, Marion Flahaut, Pasquale Amato, Adamo Didur, and Carl Jörn. In the same season Mr. Hammerstein brought forward a number of interesting novelties, including Saint-Saëns's _Samson et Dalila_, Massenet's _Le Jongleur de Notre Dame_, and the _Princesse d'Auberge_ of Jan Blockx. He also had the hardihood to produce _Salome_, and its success seems to indicate that the squeamishness of New York's moral stomach had, by some strange process, entirely disappeared. Except for _Otello_ there was nothing else of particular interest in his list. During the season of 1909-10 he produced Strauss's _Electra_ and Massenet's _Hérodiade_, _Grisélidis_, and _Sappho_. In addition he made experiments with _opéra comique_, presenting Maillart's _Les Dragons de Villars_, Planquette's _Les Cloches de Corneville_, Audran's _La Mascotte_, Donizetti's _La Fille du Régiment_, and Lecocq's _La Fille de Madame Angot_. The most notable acquisitions to his forces in this season were Madame Mazarin, a French dramatic soprano of fine talent, Lina Cavalieri, and John McCormack, the Irish lyric tenor. He no longer had the services of Campanini, his principal conductor being the Belgian de la Fuente. After the close of the season he sold out to the Metropolitan interests and entered into an agreement with them not to give grand opera in New York city for ten years.