A large and appreciative audience greeted Antón Seidl, the greatest living Wagner interpreter, as he ca me forward to direct the Tannhauser overture last evening, in University hall. The versión given, known as the "Paris version," develops at length the "Venus music," and represents a perfect vvhirl of voluptuous excitement a veritable orgie. The superb quality of the " brass," the brilliancy and virility of the "strings," and the exquisite refinement of the "wood-wind" were admirably displayedin this selection. Seidl is a magnetic, inspiring conductor, and his readings reveal his intellectuality. No one can conduct the great works which were on the programme last evening who is not a master in every sense of the word. The "Prelude" Lohengrin, that bit of musical tracery, was given with great delicacy of style. ' The superb lenderingof the duet between Ostend and Elsa, prepared the way for Miss Juch's triumph in "Elsa's Dream." Miss Juch is one of the greatest vocal artists we have at this time, and she aroused genuine enthusiasm last evening. Tristan and Isolde is justly sidérea one oí the greatest, ir not the greatest of Wagner's works. Isolde's Lament and Death portray the grief of Isolde as she finds Tristan dying more perfectly than words, and the effect is overpowering, especially to those vho by an intimate acquaintance with the music can appreciate the wonderful weaving together of the ideas. The Meistersinger quintette revealed the purely melodie side of Wagner; that is, melody in somewhat conventional style. In reality Wagner's rnusic is nothing but melody. It is so rich in melody, the melodies are so interwoven, that the impression of those listening to his music for the first time is simply that of amazement. The Grand Scène of the Walkures was a wonderfully vivid picture of the characteristics of these warrior maidens. The scène represents the gathering together of Brunhilde's sister Walkures to shield her f rom Wotan's wrath. It was superbly given. Of the singer next to Miss Juch, Miss Stein must be awarriecl the honors of the evening. " Siegfried and the Bird" is a wonderful tone picture. Siegfried hearing thebirds sing, wishes that he might understand their song, and thinks that by imitating the song on his horn it may become possible for him to do so. The bird ís singing Siegfried's past history and the history of his ancestors. After the struggle with the dragon, through tasting its blood he understands all that has Deen pictured to us through the xopical motives in the orchestra. Moremournful funeral music than Siegfreid's Death has never been )enned. It gives us a march which s at the same time a funeral oration, :or the march is made up of typical notives illustrating the wholelife of ;he dead hero. The Flower Maiden scène from Parsifal was finely done. The enortious difficulties make it well nigh mp.ossible to do it justice, but a nore perfect performance of this scène has never been given. All in all, it was the most superb ;oncert ever held in Ann Arbor, ind it was fitting that ourgreat Uniersity should become acquainted ivith representative works of the greatest dramatic genius since Shakespeare, interpreted by such a rare conductor as Antón Seidl.