Stories of the Wagner Opera Part 3

'The Lord himself now thy bondage hath riven.

Go, enter in with the blest in His heaven.'

[Ill.u.s.tration: ORTRUD KNEELING BEFORE ELSA.]

LOHENGRIN.

During a summer vacation at Teplitz in Bohemia, in 1845, Wagner wrote the first sketch of the opera of 'Lohengrin.' The poem was written at Dresden in 1845, but the score was finished only in 1848. The opera was first performed at Weimar in 1850, under the leaders.h.i.+p of Liszt, who was greatly interested in it, and determined to make it a success.

The poet composer had taken the idea for this poem from a mediaeval legend, based upon the old Greek myth of Cupid and Psyche. Its poetical and musical possibilities immediately struck him, and when the opera was first played to an audience composed of musical and literary people from all parts of Europe, whom Liszt had invited to be present, it produced 'a powerful impression.' From the memorable night of its first performance 'dates the success of the Wagner movement in Germany.' During the next nine years this opera was given in fourteen different cities, and Wagner, who was then a political exile, is reported to have sadly remarked, 'I shall soon be the only German who has not heard Lohengrin.' It was in 1861, eleven years after its first performance, that he finally heard it for the first time in Vienna.

This opera won for Wagner not only lasting fame, but also the enthusiastic admiration of the young Ludwig of Bavaria. Such was the impression this work made upon the young prince, who first heard it when he was only sixteen, that he resolved to do all in his power to help the composer. Three years later he succeeded to the throne of Bavaria as Ludwig II., and one of the first independent acts of his reign was to send a messenger to invite the master to come and dwell at his court, and to a.s.sure him a yearly pension from his private purse. The young king was so infatuated with the story of 'Lohengrin' that he not only had his residence decorated with paintings and statues representing different episodes of the opera, but used also to sail about his lake, dressed in the Swan Knight's costume, in a boat drawn by ingeniously contrived mechanical swans. The story of this opera is as follows:--

Henry I., the Fowler, Emperor of Germany, about to make war against the Hungarians who threaten to invade his realm, comes to Antwerp to collect his troops, and to remind all the n.o.blemen of Brabant of their allegiance to him.

The opera opens with the trumpet call of the heralds, and by Henry's speech to the a.s.sembled n.o.blemen, who enthusiastically promise him the support of their oft-tried arms. The king, who is pleased with their readiness to serve him, then informs them that he has heard rumours of trouble in their midst, and that by right of his office as high justice of the realm he would fain bring peace among them. He therefore summons Frederick of Telramund, the guardian of the dukedom of Brabant, to state the cause of dissension. This n.o.bleman relates how the dying Duke of Brabant confided his children, Elsa and G.o.dfrey, to his care, how tenderly he watched over them, and how much sorrow he felt when the young heir, having gone out in the forest to walk with his sister one day, failed to return. Frederick of Telramund then goes on, and tells how he could not but suspect Elsa of her brother's murder. He had therefore renounced her hand, which he had once hoped to win, had married Ortrud, daughter of Radbod, the heathen king and former possessor of all this tract of land, which he now claims as his own by right of inheritance.

The people at first refuse to believe his dark accusation against Elsa; but when Frederick declares she murdered her brother so as to become sole mistress of the duchy, and to bestow it upon some unworthy lover, the king sends for the maiden, and, hanging his s.h.i.+eld upon an oak, declares he will not depart until he has tried this cause:--

'HERALD.

Now shall the cause be tried as ancient use requires.

KING.

Never again my s.h.i.+eld to wear Till judgment is p.r.o.nounced, I swear.'

The people receive this decree with joy, and the men, drawing their swords, thrust them into the ground as they form a circle around the king. These preparations for a solemn court of justice are scarcely ended when Elsa appears, all in white, and attended by her ladies, who stand in the background while she timidly advances and stands before the king. Her youth, beauty, and apparent innocence produce a great effect, not only upon the bystanders, but also upon the king, who gently begins to question her.

But, instead of answering him, the fair maiden merely bows and wrings her hands, exclaiming, 'My hapless brother!' until the king implores her to confide in him. Suddenly her tongue is loosened, and she begins to sing, as if in a trance, of a vision with which she has been favoured, wherein a handsome knight had been sent by Heaven to become her champion:--

'I saw in splendour s.h.i.+ning A knight of glorious mien, On me his eye inclining With tranquil gaze serene; A horn of gold beside him, He leant upon his sword.

Thus when I erst espied him 'Mid clouds of light he soared; His words so low and tender Brought life renewed to me.

My guardian, my defender, Thou shalt my guardian be.'

These words and the maiden's rapt and innocent look are so impressive, that the king and people utterly refuse to believe the maiden guilty of crime, until Frederick of Telramund boldly offers to prove the truth of his a.s.sertion by fighting against any champion whom she may choose. Elsa accepts this proposal gladly, for she hopes her heaven-sent champion may appear.

The lists are immediately prepared, while the herald calls aloud:--

'He who in right of Heaven comes here to fight For Elsa of Brabant, step forth at once.'

The first call remains unanswered; but, at Elsa's request, the king commands a second to be made, while she sinks on her knees and ardently begins praying for her champion's appearance.

Her prayer is scarcely ended when the men along the bank become aware of the approach of a snowy swan, drawing a little skiff, in which a handsome young knight in full armour stands erect.

Amid the general silence of the amazed spectators, Lohengrin, the Swan Knight, springs ash.o.r.e, and, turning to his swan, dismisses it in a beautiful song, one of the gems of this opera:--

'I give thee thanks, my faithful swan.

Turn thee again and breast the tide; Return unto that land of dawn Where joyous we did long abide.

Well thy appointed task is done.

Farewell, my trusty swan.'

Then, while the swan slowly sails down the river and out of sight, the Swan Knight announces to the king that he has come as Elsa's champion, and, turning to her, asks whether she will be his wife if he proves victorious. Elsa gladly promises him her hand, nor does she even offer to withdraw this promise when he tells her that she must trust him entirely, and never ask who he is or whence he comes:--

'Say, dost thou understand me?

Never, as thou dost love me, Aught shall to question move thee From whence to thee I came, Or what my race and name.'

Elsa faithfully promises to remember all these injunctions, and bids him do battle for her, whereupon he challenges Telramund, with whom he begins fighting at a given signal. The Swan Knight soon defeats his enemy, who is thus convicted of perjury by the judgment of G.o.d, but he magnanimously refuses to take his life.

Then, turning to Elsa, who thanks him pa.s.sionately for saving her, he clasps her in his arms, while Telramund and Ortrud, his wife, bewail their disgrace, for, according to the law of the land, they are doomed to poverty and exile. Their sorrow, however, is quite unheeded by the enthusiastic spectators, who set Elsa and Lohengrin upon their s.h.i.+elds, and then bear them off in triumph, to the glad accompaniment of martial strains:--

'CHORUS.

We sing to thee,--we praise thee, To highest honour raise thee.

Stranger, we here greet thee delighted.

Wrong thou hast righted; We gladly greet thee here.

Thee, thee we sing alone. Thy name shall live in story.

Oh, never will be one to rival thee in glory!'

It is night when the curtain rises upon the second act; the knights are still revelling in the part of the palace they occupy, while the women's apartments are dark and still. The street is deserted, and on the steps of the cathedral sit Frederick and Ortrud, who have been despoiled of their rich garments, and are now clad like beggars.

Frederick, who feels his disgrace, bitterly reproaches his wife for having blasted his career, and seeks to induce her to depart with him ere day breaks; but Ortrud refuses to go. She is not yet conquered, and pa.s.sionately bids him rouse himself, and listen to her plan, if he would recover his honour, retrieve his fortunes, and avenge himself for his public defeat. She first persuades him that the Swan Knight won the victory by magic arts only, which was an unpardonable offence, and then declares that, if Elsa could only be prevailed upon to disobey her champion's injunctions and ask his name, the spell which protects him would soon be broken, and he would soon become their prey.

Telramund, overjoyed at the prospect of wiping out his disgrace, acquiesces eagerly, and as Elsa just then appears at her window and softly apostrophises the evening breeze, Ortrud creeps out of the shadow and timidly addresses her, simulating a distress she is far from feeling.

Moved by compa.s.sion at the sight of the haughty woman thus laid low, and touched by the pretended repentance she shows, Elsa, whom happiness has made even more tender than usual, eagerly hastens down with two of her attendants, and, opening the door, bids her come in, promising to intercede in her behalf on the morrow. During the subsequent brief conversation Ortrud artfully manages to make Elsa vaguely uneasy, and to sow in her innocent mind the first seeds of suspicion.

Frederick of Telramund, in the mean while, has watched his wife disappear with Elsa, and, hiding in a niche of the old church, he sees the gradual approach of day, and hears the herald proclaiming through the streets the Emperor's ban upon him:--

'Our king's august decree through all the lands I here make known,--mark well what he commands: Beneath a ban he lays Count Telramund For tempting Heaven with traitorous intent.

Whoe'er shall harbour or companion him By right shall share his doom with life and limb.'

The unhappy man also hears the herald announce Elsa's coming marriage with the heaven-sent Swan Knight, and grimly tells the bystanders he will soon unmask the traitor. A few minutes later, when he has returned to his hiding place, he sees Elsa appear in bridal array, followed by her women, and by Ortrud, who is very richly clad. But at the church door Ortrud insolently presses in front of Elsa, claiming the right of precedence as her due, and taunting her for marrying a man who has won her by magic arts only, and whose name and origin she does not even know.

This altercation is interrupted by the appearance of the king and his attendants, among whom is the Swan Knight. He hastens to Elsa's side, while the monarch imperiously demands the cause of strife. Lohengrin tenderly questions Elsa, who tells him all. As Ortrud's venomous insinuations have had no apparent effect upon her, he is about to lead her into the church, when Telramund suddenly steps forward, loudly declaring that the Swan Knight overcame him by sorcery, and imploring Elsa not to believe a word he says.

These accusations are, however, dismissed by the king and his men, since Elsa pa.s.sionately refuses to credit them, and the wedding procession sweeps into the church, followed by the vindictive glances of Telramund and Ortrud,--glances which the trembling Elsa alone seems to perceive.

The third act takes place on that selfsame evening. The festivities are nearly ended, and through opposite doors the wedding procession enters the nuptial chamber to the accompaniment of the well known Bridal Chorus. The attendants soon depart, however, leaving Elsa and Lohengrin to join in a duet of happy married love. Now that they are alone together for the first time, Elsa softly begins chiding her lover for not showing more confidence in her, and revealing who he is. In spite of his tender attempts to turn aside the conversation into a less dangerous channel, she gradually becomes more importunate:--

'Oh, make me glad with thy reliance, Humble me not that bend so low.

Ne'er shalt thou rue thy dear affiance: Him that I love, oh let me know!'

Seeing her husband does not yield to her tender pleading, Elsa then redoubles her caresses. Her faint suspicions have taken such firm root, and grow with such rapidity, that she is soon almost wild with suspense. All his attempts to soothe her only seem to excite her more, and suddenly, fancying that she hears the swan boat coming to bear him away from her, she determines to break the magic spell at any cost, as Ortrud cunningly advised her, and demands his name. Just as Lohengrin is gazing upon her in heart-rending but mute reproach, Telramund bursts into the room, with a band of hired a.s.sa.s.sins, to take his life. A quick motion from Elsa, whose trust returns when she sees her beloved in danger, permits Lohengrin to parry the first blow with his sword, and Frederick of Telramund soon lies dead upon the floor, while his accomplices cringe at Lohengrin's feet imploring his pardon. Day is dawning, and Lohengrin, after caring tenderly for the half-fainting Elsa, bids the would-be a.s.sa.s.sins bear the corpse into the presence of the king, where he promises to meet Elsa and satisfy all her demands:--

'Bear hence the corpse into the king's judgment hall.