The Standard Operas Part 13

WAGNER.

Richard Wagner, who has been somewhat ironically called the musician of the future, and whose music has been relegated to posterity by a considerable number of his contemporaries, was born at Leipsic, May 22, 1813. After his preliminary studies in Dresden and Leipsic, he took his first lessons in music from Cantor Weinlig. In 1836 he was appointed musical director in the theatre at Magdeburg, and later occupied the same position at Konigsberg. Thence he went to Riga, where he began his opera "Rienzi." He then went to Paris by sea, was nearly shipwrecked on his way thither, and landed without money or friends. After two years of hard struggling he returned to Germany.

His shipwreck and forlorn condition inspired the theme of "The Flying Dutchman," and while on his way to Dresden he pa.s.sed near the castle of Wartburg, in the valley of Thuringia, whose legends inspired his well-known opera of "Tannhauser." He next removed to Zurich, and about this time appeared "Lohengrin," one of his most favorite operas.

"Tristan and Isolde" was produced in 1856, and his comic opera, "Die Meistersinger von Nurnberg," three years later. In 1864 he received the patronage of King Louis of Bavaria, which enabled him to complete and perform his great work, "Der Ring der Nibelungen." He laid the foundation of the new theatre at Baireuth in 1872, and in 1875 the work was produced, and created a profound sensation all over the musical world. "Parsifal," his last opera, was first performed in 1882. His works have aroused great opposition, especially among conservative musicians, for the reason that he has set at defiance the conventional operatic forms, and in carrying out his theory of making the musical and dramatic elements of equal importance, and employing the former as the language of the latter in natural ways, has made musical declamation take the place of set melody, and swept away the customary arias, duets, quartets, and concerted numbers of the Italian school, to suit the dramatic exigencies of the situations. Besides his musical compositions, he enjoys almost equal fame as a litterateur, having written not only his own librettos, but four important works,--"Art and the Revolution," "The Art Work of the Future," "Opera and Drama," and "Judaism in Music." His music has made steady progress through the efforts of such advocates as Liszt, Von Bulow, and Richter in Germany, Pasdeloup in France, Hueffer in England, and Theodore Thomas in the United States. In 1870 he married Frau Cosima von Bulow, the daughter of Liszt,--an event which provoked almost as much comment in social circles as his operas have in musical. He died during a visit to Venice, Feb. 13, 1883.

RIENZI.

"Rienzi der letzte der Tribunen," a tragic opera in five acts, words by the composer, the subject taken from Bulwer's novel, "The Last of the Tribunes," was first produced at Dresden, Oct. 20, 1842, with Herr Tichatscheck, Mme. Schroder-Devrient, and Mlle. Wiest in the princ.i.p.al roles. It was designed and partly completed during Wagner's stay in Riga as orchestra leader. In his Autobiography the composer says that he first read the story at Dresden in 1837, and was greatly impressed with its adaptability for opera. He began it in the fall of the same year at Riga, and says: "I had composed two numbers of it, when I found, to my annoyance, that I was again fairly on the way to the composition of music a la Adam. I put the work aside in disgust."

Later he projected the scheme of a great tragic opera in five acts, and began upon it with fresh enthusiasm in the fall of 1838. By the spring of 1839 the first two acts were completed. At that time his engagement at Riga terminated, and he set out for Paris. He soon found that it would be hopeless for him to bring out the opera in that city, notwithstanding Meyerbeer had promised to a.s.sist him. He offered it to the Grand Opera and to the Renaissance, but neither would accept it.

Nothing daunted, he resumed work upon it, intending it for Dresden. In October, 1842, it was at last produced in that city, and met with such success that it secured him the position of capellmeister at the Dresden opera-house.

The action of the opera pa.s.ses at Rome, towards the middle of the fourteenth century. The first act opens at night, in a street near the Church of St. John Lateran, and discovers Orsini, a Roman patrician, accompanied by a crowd of n.o.bles, attempting to abduct Irene, the sister of Rienzi, a papal notary. The plot is interrupted by the entrance of Colonna, the patrician leader of another faction, who demands the girl. A quarrel ensues. Adriano, the son of Colonna, who is in love with Irene, suddenly appears and rushes to her defence.

Gradually other patricians and plebeians are attracted by the tumult, among the latter, Rienzi. When he becomes aware of the insult offered his sister, he takes counsel with the Cardinal Raimondo, and they agree to rouse the people in resistance to the outrages of the n.o.bles.

Adriano is placed in an embarra.s.sing position,--his relationship to the Colonnas urging him to join the n.o.bles, and his love for Irene impelling him with still stronger force to make common cause with the people. He finally decides to follow Rienzi, just as the trumpets are heard calling the people to arms and Rienzi clad in full armor makes his appearance to lead them.

The struggle is a short one. The n.o.bles are overcome, and in the second act they appear at the Capitol to acknowledge their submission to Rienzi: but Adriano, who has been among them, warns Rienzi that they have plotted to kill him. Festal dances, processions, and gladiatorial combats follow, in the midst of which Orsini rushes at Rienzi and strikes at him with his dagger. Rienzi is saved by a steel breastplate under his robes. The n.o.bles are at once seized and condemned to death. Adriano pleads with Rienzi to spare his father, and moved by his eloquence he renews the offer of pardon if they will swear submission. They take the oath only to violate it. The people rise and demand their extermination. Rienzi once more draws the sword, and Adriano in vain appeals to him to avert the slaughter. He is again successful, and on his return announces to Adriano that the Colonnas and Orsinis are no more. The latter warns him of coming revenge, and the act closes with the coronation of Rienzi.

The fourth act opens at night near the church. The popular tide has now turned against Rienzi, upon the report that he is in league with the German Emperor to restore the pontiff. A festive cortege approaches, escorting him to the church. The n.o.bles bar his way, but disperse at his command; whereupon Adriano rushes at him with drawn dagger, but the blow is averted as he hears the chant of malediction in the church, and sees its dignitaries placing the ban of excommunication against Rienzi upon its doors. He hurries to Irene, warns her that her brother's life is no longer safe, and urges her to fly with him. She repulses him, and seeks her brother, to share his dangers or die with him. She finds him at prayer in the Capitol. He counsels her to accept the offer of Adriano and save herself, but she repeats her determination to die with him. The sounds of the approaching crowd are heard outside. Rienzi makes a last appeal to them from the balcony, but the infuriated people will not listen. They set fire to the Capitol with their torches, and stone Rienzi and Irene through the windows. As the flames spread from room to room and Adriano beholds them enveloping the devoted pair, he throws away his sword, rushes into the burning building, and perishes with them.

The overture of "Rienzi" is in the accepted form, for the opera was written before Wagner had made his new departure in music, and takes its princ.i.p.al themes, notably Rienzi's prayer for the people and the finale to the first act, from the body of the work. The general style of the whole work is vigorous and tumultuous. The first act opens with a hurly-burly of tumult between the contending factions and the people. The first scene contains a vigorous aria for the hero ("Wohl an so mog es sein"), which leads up to a fiery terzetto ("Adriano du?

Wie ein Colonna!") between Rienzi, Irene, and Adriano, followed by an intensely pa.s.sionate scene ("Er geht und la.s.st dich meinem Schutz") between the last two. The finale is a tumultuous ma.s.s of sound, through which are heard the tones of trumpets and cries of the people.

It opens with a ma.s.sive double chorus ("Gegrusst, gegrusst"), shouted by the people on the one side and the monks in the Lateran on the other, accompanied by an andante movement on the organ. It is interrupted for a brief s.p.a.ce by the ringing appeal of Rienzi "Erstehe, hohe Roma, neu," and then closes with an energetic andante, a quartet joining the choruses. This finale is clearly Italian in form, and much to Wagner's subsequent disgust was described by Hanslick as a mixture of Donizetti and Meyerbeer, and a clear presage of the coming Verdi.

The second act opens with a stately march, introducing the messengers of peace, who join in a chorus of greeting, followed by a second chorus of senators and the tender of submission made by the n.o.bles. A terzetto between Adriano, Orsini, and Colonna, set off against a chorus of the n.o.bles, leads up to the finale. It opens with a joyful chorus ("Erschallet feier Klange"), followed by rapid dialogue between Orsini and Colonna on the one hand and Adriano and Rienzi on the other. A long and elaborate ballet intervenes, divided into several numbers,--an Introduction, Pyrrhic Dance, Combat of Roman Gladiators and Cavaliers, and the Dance of the Apotheosis, in which the G.o.ddess of Peace is transformed to the G.o.ddess, protector of Rome. The scene abruptly changes, and the act closes with a great ensemble in which the defiance of the conspirators, the tolling of bells, the chants of the monks, and the ferocious outcries of the people shouting for revenge are mingled in strong contrasts.

The third act is full of tumult. After a brief prelude, amid the ringing of bells and cries of alarm, the people gather and denounce the treachery of the n.o.bles, leading up to a spirited call to arms by Rienzi ("Ihr Romer, auf"). The people respond in furious chorus, and as the sound of the bells and battle-cries dies away Adriano enters.

His scene opens with a prayer ("Gerechter Gott") for the aversion of carnage, which changes to an agitated allegro ("Wo war ich?") as he hears the great bell of the Capitol tolling the signal for slaughter.

The finale begins with a ma.s.sive march, as the bells and sounds of alarm are heard approaching again, and bands of citizens, priests and monks, the high clergy, senators and n.o.bles, pa.s.s and repa.s.s in quick succession, at last followed by Rienzi, which is the signal for the great battle-hymn, "Santo spirito cavaliere," which is to be sung with great fire and energy, accompanied by great and small bells ringing behind the scenes, the clash of swords upon shields, and full power of chorus and orchestra. A dialogue follows between Adriano and Rienzi, and then the various bands disappear singing the ritornelle of the hymn. A great duet ("Lebwohl, Irene") ensues between Adriano and Irene, which in its general outlines reminds one of the duet between Raoul and Valentin in "The Huguenots." At its conclusion, after a prayer by the chorus of women, the battle hymn is heard again in the distance, gradually approaching, and the act closes with a jubilee chorus ("Auf! im Triumpf zum Capitol"), welcoming the return of the conquerors.

The fourth act is short, its princ.i.p.al numbers being the introduction, terzetto and chorus ("Wer war's der euch hierher beschied?"), and the finale, beginning with a somewhat sombre march of the cortege accompanying Rienzi to the church, leading to the details of the conspiracy scene, and closing with the malediction of the monks, "Vae, vae tibi maledicto." The last act opens with an impressive prayer by Rienzi ("Allmacht'ger Vater"), which leads to a tender duet ("Verla.s.st die Kirche mich") as Irene enters, closing with a pa.s.sionate aria by Rienzi ("Ich liebte gluhend"). The duet is then resumed, and leads to a second and intensely pa.s.sionate duet ("Du hier Irene!") between Adriano and Irene. The finale is brief, but full of energy, and is princ.i.p.ally choral. The denouement hurries, and the tragedy is reached amid a tumultuous outburst of voices and instruments. Unlike Wagner's other operas, in "Rienzi" set melody dominates, and the orchestra, as in the Italian school, furnishes the accompaniments. We have the regular overture, aria, duet, trio, and concerted finale; but after "Rienzi" we shall observe a change, at last becoming so radical that the composer himself threw aside his first opera as unworthy of performance.

THE FLYING DUTCHMAN.

"Der Fliegende Hollander," a romantic opera in three acts, words by the composer, the subject taken from Heinrich Heine's version of the legend, was first produced at Dresden, Jan. 2, 1843, with Mme.

Schroder-Devrient and Herr Wechter in the two princ.i.p.al roles. It was also produced in London in 1870 at Drury Lane as "L'Ollandose dannato," by Signor Arditi, with Mlle. Di Murska, Signors Foli, Perotti, and Rinaldini, and Mr. Santley in the leading parts; in 1876, by Carl Rosa as "The Flying Dutchman," an English version; and again in 1877 as "Il Vascello fantasma." In this country the opera was introduced in its English form by Miss Clara Louise Kellogg.

Wagner conceived the idea of writing "The Flying Dutchman" during the storm which overtook him on his voyage from Riga to Paris. He says in his Autobiography: "'The Flying Dutchman,' whose intimate acquaintance I had made at sea, continually enchained my fancy. I had become acquainted, too, with Heinrich Heine's peculiar treatment of the legend in one portion of his 'Salon.' Especially the treatment of the delivery of this Ahasuerus of the ocean (taken by Heine from a Dutch drama of the same t.i.tle) gave me everything ready to use the legend as the libretto of an opera. I came to an understanding about it with Heine himself, drew up the scheme, and gave it to M. Leon Pillet [manager of the Grand Opera], with the proposition that he should have a French libretto made from it for me." Subsequently M. Pillet purchased the libretto direct from Wagner, who consented to the transaction, as he saw no opportunity of producing the opera in Paris.

It was then set by Dietsch as "Le Vaisseau fantome," and brought out in Paris in 1842. In the mean time, not discouraged by his bad fortune, Wagner set to work, wrote the German verse, and completed the opera in seven weeks for Dresden, where it was finally performed, as already stated. Unlike "Rienzi," it met with failure both in Dresden and Berlin; but its merits were recognized by Spohr, who encouraged him to persevere in the course he had marked out.

The plot of the opera is very simple. A Norwegian vessel, commanded by Daland, compelled by stress of weather, enters a port not far from her destination. At the same time a mysterious vessel, with red sails and black hull, commanded by the wandering Flying Dutchman, who is destined to sail the seas without rest until he finds a maiden who will be faithful until death, puts into the same port. The two captains meet, and Daland invites the stranger to his home. The two at last progress so rapidly in mutual favor that a marriage is agreed upon between the stranger and Senta, Daland's daughter. The latter is a dreamy, imaginative girl, who, though she has an accepted lover, Eric, is so fascinated with the legend of the stranger that she becomes convinced she is destined to save him from perdition. When he arrives with her father she recognizes him at once, and vows eternal constancy to him. In the last act, however, Eric appears and reproaches Senta with her faithlessness. The stranger overhears them, and concludes that as she has been recreant to her former lover, so too she will be untrue to him. He decides to leave her; for if he should remain, her penalty would be eternal death. As his mysterious vessel sails away Senta rushes to a cliff, and crying out that her life will be the price of his release, hurls herself into the sea, vowing to be constant to him even in death. The phantom vessel sinks, the sea grows calm, and in the distance the two figures are seen rising in the sunlight never to be parted.

The overture characterizes the persons and situations of the drama, and introduces the motives which Wagner ever after used so freely,--among them the curse resting upon the Dutchman, the restless motion of the sea, the message of the Angel of Mercy personified in Senta, the personification of the Dutchman, and the song of Daland's crew. The first act opens with an introduction representing a storm, and a characteristic sailors' chorus, followed by an exquisite love-song for tenor ("Mit Gewitter und Sturm"), and a grand scena of the Dutchman ("Die Frist ist um"), which lead up to a melodious duet between the Dutchman and Daland. The act closes with the sailors'

chorus as the two vessels sail away.

After a brief instrumental prelude, the second act opens in Daland's home, where the melancholy Senta sits surrounded by her companions, who are spinning. To the whirring accompaniment of the violins they sing a very realistic spinning song ("Summ' und brumm du gutes Madchen"), interrupted at intervals by the laughter of the girls as they rally Senta upon her melancholy looks. Senta replies with a weird and exquisitely melodious ballad ("Johohae! trafft ihr das Schiff im Meere an"), in which she tells the story of the Flying Dutchman, and antic.i.p.ates her own destiny. The song is full of intense feelings and is characterized by a motive which frequently recurs in the opera, and is the key to the whole work. A duet follows between Eric and Senta, the melodious character of which shows that Wagner was not yet entirely freed from Italian influences. A short duet ensues between Senta and her father, and then the Dutchman appears. As they stand and gaze at each other for a long time, the orchestra meanwhile supplying the supposed emotions of each, we have a clew to the method Wagner was afterwards to employ so successfully. A duet between Senta and the Dutchman ("Wie aus der Ferne") and a terzetto with Daland close the act.

The third act opens with another sailors' chorus ("Steuermann, la.s.s'

die Wacht"), and a brisk dialogue between them and the women who are bringing them provisions. The latter also hail the crew of the Dutchman's vessel, but get no reply until the wind suddenly rises, when they man the vessel and sing the refrain with which the Dutchman is continually identified. A double chorus of the two crews follows.

Senta then appears accompanied by Eric, who seeks to restrain her from following the stranger in a very dramatic duet ("Was muss ich h.o.r.en?"). The finale is made up of sailors' and female choruses, and a trio between Senta, Daland, and the Dutchman, which are woven together with consummate skill, and make a very effective termination to the weird story. There are no points in common between "The Flying Dutchman" and "Rienzi," except that in the former Wagner had not yet clearly freed himself from conventional melody. It is interesting as marking his first step towards the music of the future in his use of motives, his wonderful treatment of the orchestra in enforcing the expression of the text, and his combination of the voices and instrumentation in what he so aptly calls "The Music-Drama."

TANNHaUSER

"Tannhauser und der Singerkrieg auf Wartburg" ("Tannhauser and the singers' contest at the Wartburg"), a romantic opera in three acts, words by the composer, was first produced at the Royal Opera, Dresden, Oct. 20, 1845, with Mme. Schroder-Devrient and Herr Niemann as Elizabeth and Tannhauser. Its first performance in Paris was on March 13, 1861; but it was a failure after three representations, and was made the b.u.t.t of Parisian ridicule, even Berlioz joining in the tirade. In England it was brought out in Italian at Covent Garden, May 6, 1876, though its overture was played by the London Philharmonic orchestra in 1855, Wagner himself leading.

In the spring of 1842 Wagner returned from Paris to Germany, and on his way to Dresden visited the castle of Wartburg, in the Thuringian Valley, where he first conceived the idea of writing "Tannhauser." The plot was taken from an old German tradition, which centres about the castle where the landgraves of the thirteenth century inst.i.tuted peaceful contests between the Minnesingers and knightly poets. Near this castle towers the Venusberg, a dreary elevation, which, according to popular tradition, was inhabited by Holda, the G.o.ddess of Spring.

Proscribed by Christianity, she took refuge in its caverns, where she was afterwards confounded with the Grecian Venus. Her court was filled with nymphs and sirens, who enticed those whose impure desires led them to its vicinity, and lured them into the caverns, from which they were supposed never to return. The first act opens in this court, and reveals Tannhauser, the knight and minstrel, under the sway of Venus.

In spite of her fascinations he succeeds in tearing himself away, and we next find him at the castle of Wartburg, the home of Hermann the Landgrave, whose daughter Elizabeth is in love with him. At the minstrel contest he enters into the lists with the other Minnesingers, and, impelled by a reckless audacity and the subtle influence of Venus, sings of the attractions of sensual pleasures. Walter, of the Vogelweide, replies with a song to virtue. Tannhauser breaks out in renewed sensual strains, and a quarrel ensues. The knights rush upon him with their swords, but Elizabeth interposes and saves his life. He expresses his penitence, makes a pilgrimage to Rome and confesses to the Pope, who replies that, having tasted the pleasures of h.e.l.l, he is forever d.a.m.ned, and, raising his crosier, adds: "Even as this wood cannot blossom again, so there is no pardon for thee." Elizabeth prays for him in her solitude, but her prayers apparently are of no avail.

At last he returns dejected and hopeless, and in his wanderings meets Wolfram, another minstrel, also in love with Elizabeth, to whom he tells the sad story of his pilgrimage. He determines to return to the Venusberg. He hears the voices of the sirens luring him back. Wolfram seeks to detain him, but is powerless until he mentions the name of Elizabeth, when the sirens vanish and their spells lose their attraction. A funeral procession approaches in the distance, and on the bier is the form of the saintly Elizabeth. He sinks down upon the coffin and dies. As his spirit pa.s.ses away his pilgrim's staff miraculously bursts out into leaf and blossom, showing that his sins have been forgiven.

The overture to the opera is well known by its frequent performances as a concert number. It begins with the pilgrim's song, which, as it dies away, is succeeded by the seductive spells of the Venusberg and the voices of the sirens calling to Tannhauser. As the whirring sounds grow fainter and fainter, the pilgrim's song is again heard gradually approaching, and at last closing the overture in a joyous burst of harmony. The first act opens with the scene in the Venusberg, accompanied by the Baccha.n.a.le music, which was written in Paris by Wagner after the opera was finished and had been performed. It is now known as "the Parisian Baccha.n.a.le." It is followed by a voluptuous scene between Tannhauser and Venus, a long dialogue, during which the hero, seizing his harp, trolls out a song ("Doch sterblich, ach!"), the theme of which has already been given out by the overture, expressing his weariness of her companionship. The second scene transports us to a valley, above which towers the castle of Wartburg.

A young shepherd, perched upon a rock, sings a pastoral invocation to Holda ("Frau Holda kam aus dem Berg hervor"), the strains of his pipe (an oboe obligato) weaving about the stately chorus of the elder pilgrims ("Zu dir wall' ich, mein Herr und Gott") as they come along the mountain paths from the castle. The scene, which is one of great beauty, closes with the lament of Tannhauser ("Ach! schwer druckt mich der Sunden Last"), intermingled with the receding song of the pilgrims, the ringing of church-bells in the distance, and the merry notes of hunters' horns as the Landgrave and his followers approach.

The meeting with Tannhauser leads to an expressive septet, in which Wolfram has a very impressive solo ("Als du in kuhnem Sange").

The second act opens in the singers' hall of the Wartburg. Elizabeth, entering joyfully, greets it in a recitation ("Froh gruss ich dich, geliebter Raum"), if we may so term it, which is characterized by a joyous but dignified dramatic appeal, recalling the scenes of her youth. The interview between Tannhauser and Elizabeth, which follows, gives rise to a long dialogue, closing with a union of the two voices in the charming duet, "Gepriesen sei die Macht." Then follows the grand march and chorus, "Freudig begrussen wir die edle Halle,"

announcing the beginning of the song contest. The stirring rhythm and bold, broad outlines of this march are so well known that it is needless to dwell upon it. The scene of the contest is declamatory throughout, and full of animation and spirit; its most salient points being the hymn of Wolfram ("O Himmel la.s.st dich jetzt erflehen") in honor of ideal love, and Elizabeth's appeal to the knights to spare Tannhauser ("Zuruck von ihm"), which leads up to a spirited septet and choral ensemble closing the act.

In the third act we are once more in the valley of the Wartburg. After a plaintive song by Wolfram ("Wohl wusst ich hier sie im Gebet zu finden"), the chorus of the returning pilgrims is heard in the distance, working up to a magnificent crescendo as they approach and cross the stage. Elizabeth, who has been earnestly watching them to find if Tannhauser be of their number, disappointed, sinks upon her knees and sings the touching prayer, "Allmacht'ge Jungfrau, hor mein Flehen." As she leaves the scene, Wolfram takes his harp and sings the enchanting fantasy to the evening star, "O, du mein holder Abendstern,"--a love-song to the saintly Elizabeth. Tannhauser makes his appearance. A long declamatory dialogue ensues between himself and Wolfram, in which he recites the story of his pilgrimage. The scene is one of extraordinary power, and calls for the highest vocal and dramatic qualities in order to make it effective. From this point on, the tragedy hastens. There is the struggle once more with the sirens, and amid Wolfram's touching appeals and Tannhauser's exclamations is heard the enticement of the Venus music. But at the name "Elizabeth"

it dies away. The mists grow denser as the magic crew disappears, and through them is seen a light upon the Wartburg. The tolling of bells and the songs of mourners are heard as the cortege approaches. As Tannhauser dies, the pilgrims' chorus again rises in ecstasy, closing with a mighty shout of "Hallelujah!" and the curtain falls.

LOHENGRIN.

"Lohengrin," a romantic opera in three acts, words by the composer, was first produced at Weimar, Aug. 28, 1850, the anniversary of Goethe's birthday, under the direction of Franz Liszt, and with the following cast of the leading parts:--

LOHENGRIN Herr BECK.

TELRAMUND Herr MILDE.

KING Herr HOFER.

ELSA Frau AGATHE.

ORTRUD Fraulein FASTLINGER.

"Lohengrin" was begun in Paris, and finished in Switzerland during the period in which Wagner was director of the musical society as well as of the orchestra at the city theatre of Zurich, whither he had fled to escape the penalties for taking part in the political agitations and subsequent insurrection of 1849. Though it manifests a still further advancement in the development of his system, it was far from being composed according to the abstract rules he had laid down. He says explicitly on this point, in his "Music of the Future:" "The first three of these poems--'The Flying Dutchman,' 'Tannhauser,' and 'Lohengrin'--were written by me, their music composed, and all (with the exception of 'Lohengrin') performed upon the stage, before the composition of my theoretical writings."

The story of Lohengrin, the son of Parsifal, upon which Wagner has based his drama, is taken from many sources, the old Celtic legend of King Arthur, his knights, and the Holy Grail being mixed with the distinctively German legend of a knight who arrives in his boat drawn by a swan. The version used by Wagner is supposed to be told by Wolfram von Eschenbach, the Minnesinger, at one of the Wartburg contests, and is in substance as follows: Henry I., King of Germany, known as "the Fowler," arrives at Antwerp for the purpose of raising a force to help him expel the Hungarians, who are threatening his dominions. He finds Brabant in a condition of anarchy. Gottfried, the young son of the late Duke, has mysteriously disappeared, and Telramund, the husband of Ortrud, daughter of the Prince of Friesland, claims the dukedom. The claimant openly charges Elsa, sister of Gottfried, with having murdered him to obtain the sovereignty, and she is summoned before the King to submit her cause to the ordeal of battle between Telramund and any knight whom she may name. She describes a champion whom she has seen in a vision, and conjures him to appear in her behalf. After a triple summons by the heralds, he is seen approaching on the Scheldt, in a boat drawn by a swan. Before the combat Lohengrin betroths himself to Elsa, naming only the condition that she shall never question him as to his name or race. She a.s.sents, and the combat results in Telramund's defeat and public disgrace.

In the second act occur the bridal ceremonies, prior to which, moved by Ortrud's entreaties, Elsa promises to obtain a reprieve for Telramund from the sentence which has been p.r.o.nounced against him. At the same time Ortrud takes advantage of her success to instil doubts into Elsa's mind as to her future happiness and the faithfulness of Lohengrin.

In the next scene, as the bridal cortege is about to enter the minster, Ortrud claims the right of precedence by virtue of her rank, and Telramund publicly accuses Lohengrin of sorcery. The faith of Elsa, however, is not shaken. The two conspirators are ordered to stand aside, the train enters the church, and Elsa and Lohengrin are united.

The third act opens in the bridal chamber. The seeds of curiosity and distrust which Ortrud has sown in Elsa's mind have ripened, and in spite of her conviction that it will end her happiness, she questions Lohengrin with increasing vehemence, at last openly demanding to know his secret. At this juncture Telramund breaks into the apartment with four followers, intending to take the life of Lohengrin. A single blow of the knight's sword stretches him lifeless. He then places Elsa in the charge of her ladies and orders them to take her to the presence of the King, whither he also repairs. Compelled by his wife's unfortunate rashness, he discloses himself as the son of Parsifal, Knight of the Holy Grail, and announces that he must now return to its guardianship. His swan once more appears, and as he steps into the boat he bids Elsa an eternal farewell. Before he sails away, however, Ortrud declares to the wondering crowd that the swan is Elsa's brother, who has been bewitched by herself into this form, and would have been released but for Elsa's curiosity. Lohengrin at once disenchants the swan, and Gottfried appears and rushes into his sister's arms. A white dove flies through the air and takes the place of the swan, and Lohengrin sails away as Elsa dies in the embrace of her newly found brother.

The Vorspiel, or prelude, to the opera takes for its subject the descent of the Holy Grail, the mysterious symbol of the Christian faith, and the Grail motive is the key to the whole work. The delicious harmonies which accompany its descent increase in warmth and power until the sacred mystery is revealed to human eyes, and then die away to a pianissimo, and gradually disappear as the angels bearing the holy vessel return to their celestial abode. The curtain rises upon a meadow on the banks of the Scheldt, showing King Henry surrounded by his va.s.sals and retainers. After their choral declaration of allegiance, Telramund, in a long declamatory scena of great power ("Zum Sterben kam der Herzog von Brabant"), tells the story of the troubles in Brabant, and impeaches Elsa. At the King's command, Elsa appears, and in a melodious utterance of extreme simplicity and sweetness, which is called the dream motive ("Einsam in truben Tagen"), relates the vision of the knight who is to come to her a.s.sistance. The summons of the heralds preludes the climax of the act.

Amid natural outcries of popular wonderment Lohengrin appears, and, as he leaves his boat, bids farewell to his swan in a strain of delicate beauty ("Nun sei gedankt, mein lieber Schwan"). The preparations for the combat are made, but before it begins, the motive of warning is sounded by Lohengrin ("Nie sollst du mich befragen"). The finale of the act takes the form of a powerful ensemble, composed of s.e.xtet and chorus, and beginning with the prayer of the King, "Mein Herr und Gott, nun ruf ich Dich."