The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1874-06-28

IN wv "
pleied ano the grounds laid out and the fountains
In ul play and the people assemble from all parts
OF the world to the musical festivals OF the future,
then there VIII be no more charming gathering
place IN German for music loving people. The
architect who made the plans for the theatre is
Herr Bruckwaid, OF Lepsic, The builder OF the
Lelpsc and Altenburg theatres The name of
nv Young friend VINO mas charge OF the building
brilliant future before him. Herr Brandt, OF Darn
stadt, supplies the stage machinery, and him
anaers,and we nave 10 thank ior the delay IN me
painted oy the brothers Brhckner, in Coburg, from
the DESIGNS u Hoffman, OF Vienna. Inc smaller
scenes are being painted In COburR, the larger
pieces will be done in Btireuth; but every plan
l0r the tea'ricl structure, Tor the stage ml-
Wigncrs Dr in he knows the meaning OF every
stone 10 the structure OF every line on the canvas.
THE WAGNER ORCHESTRA.
So much for the theatrical structure. The invisl-
Me orchestra 4 the principal point OF divergence
this great space extending from below the level OF
the stage ind tue width Of the parterre up 70 the
1901 TIE Mystic Abyss because, as | tell my
friends. II separates the reality from the ideal.
Ny idea III rendering the orchestra invisible is to
prevent the technical apparatus OF musical
stage. Between the audience and the
perception OF picture presented there
should be no OBSERVATION-DISCLOSURES should be no inter-
venin4 reality between the audience ana the IDEAL
ity-n We would produce perfect Illusion But as
tnre OF the theatre necessary. We mad to exclude
The system tiers OF boxes and contine ourselves
to the amphiiheatrical formation by which we
AFFORD accommodation ior $500 persons. | Danish
lootllghts and prompter's box and leave only
frame work. as 1t were, for the stage pictures. In
fron OF the orchestral space te arch tect devised
second proscenium, the effect OF which will be, in
IT'S relation TO the proscenium proper, 10 produce
the scene. The eject viii be that tie audience.
though ancyng the scene TO be far removed, VIII
nev a,aeess perceive It with the cearness O. i'm
produced that the persons on the scene will appear
IN increased size, in superhuman form. But OF all
this have written much. think, however, tnat
most persons fail TO comprehend the distinct char
acter l give to the orchestra, rs an illustrative
organism, to occupy the place OF the ancient Greek
chorus-a high, invisible language, appealing con-
stantly to the audience, revealing, recalling, ex-
1t needs deep and careful studies Of Wagner's
operas to become acquainted with the nature ana
beauty OF his music. anu especially It's relation to
the "Greek Chorus" The duty OF the Greek ChO-
rus was, in connection with the choragus, to me-
date as 1t were between the audience and the
teachings OF the play. Wagner gives his orchestra
similar duty The constant recurrence OF his
ees m e e 81 are %
"Rheingold" the gittering plnnacies OF glorious
Walhaila come into view, and the scene Is accom-
panied by theme IN the orchestra which may be
styled the Waha'la theme, or motive. In the first
act of "Walkuere," when siegmund tells Fle2-
linda now he lost his father, how in battle he was
separated from him and never saw him again
"My father I found no more !'-how lecitousy
breaks in the old strain oil the Walnalla theme to
tell us that father was gathered to the abode OF
the heroic dead. Again in "Lohengrin,, when
the hero Is about to leave Elsa and return 10 Mon
Salvat how affecting Is the scene. how greatly are
the sorrows Of Elsa increased IN our own neart,
when In the orchestra, amid the wild, unruy, sad
echoes or the wonderful melodies of love sung az
the nuptla festival pass across the orchestra ike
THE FEsTAL PERFORMANCES.
Yet there are some other innovations to men,
tlon me perormanses ar, are to take place at Jour
of an hour taking place between each act. And
what brilliant, intellectual audiences does the com-
poser want! Not the tired-out city folk, weary
from the counting rooms and DESTROYS of being
amused for few hours and then sent home in good
'numor to their potato salad but people with the
capacity TO appreciate all that is noble and sublime
in the drama aud IL music who come to recuper-
ate themselves in the fresh air OF these Franconian
beautiful surroundings, to Hermitage and Fan
taisie, with souls made ready Tor the recep-
"RIng OF TIE Nibelungcn' win last iour evenings
1y Ons hs s9a t SsnSa wknss the 'e e
G1tterdamperungn the fourth. The entire per-
s5rmaacs WIN Re repeated three times IN success.
patrons ticket is 300 thalers and entities the holder
to see the four operas thrice repeated. A third
part Of q "patronatschein' Is therefore suffcien6
"Ring.n The visitor will have to give himself up
entirely to the enjoyment o. nature and of dra.
annually. wagner doeg not intend to give the
"..Ring Of the Nibelungen" every year, but once in
three years. In other years he intends, il he finds
the proper support, bring out the operatic-tnat
is, musical dramatic original works OF German
composers, in tae highest possible perfection ana
In the Intention OF the composer. me TACT OF
work being performed at the Festal Theatre viii be
considered as prize and the pr ce awarded to the
composer. Every year Wagner will bring
out one Of his own operas, according to his
own ldeas without omissions, with correct
tunes ana scenery he WIN give to the Filegender
originally In one great act, IN three tab!eaux. He
DIVIDED 1t into three acts In order to adapt it to the
III d. nf In Dn IN In vsy,Ir
1t its original FORM 'Ths is my plan, If live," said
THE DELAY IN THE PERFORMANCES.
I expressed regret that the performances had
been postponed to 1875, which, being the year Of
the Centennial, would keep most American trav-
oilers at home Wagner thought that there were
very fow Americans he could expect to at end the
performances. He said 1t was impossible 70 get
ready sooner. The project had nunx fire for
months last year, and had not the King OF Bavaria
come to his assistance ne would have been stuck
fast still. "With my pecuniary resources previous
the theatre. itself had been erected
the scenery and machinery, nor could /
tell single singer, retain your services lcould
not procure scenery and machinery and talent with
promises based on the expected support Of the ma
tiOn. But can say that since the receipt Of the
credit all the contracts Tor scenery machinery,
&c, &c, have been signed. and in TINS department.
everything will be IN readiness by the year 1876.
But with the studying OF the operas TINS Is a mat
ter that will take time. 1t must be remembered
hearsed, winch will require at least four
months and 1t must be remembered that can
only have my singers during certain months
OF the year. At present there have been no
firm engagements made with the singers. But
have already selected the best force could lind
during our tour OF the German theatres last year,
and Hans Richter Will arrive in lew days to assist
me in preparing or the reception OF the singers.
or the singers already engaged Tor the Baireuth
performances Niemann and Betz have offered
themselves from Berlin. Nemann offered his
voice tree, and considered the fact Of being per-
mltted to sing in ''Nibelungen' honor enough.
Betz's only condition was q seat In the
theatre for his wife. The distribution or
the roles is not yet under consideration.
Eight or ten first class singers will be
required, and three or four female voices, besides
the walk ria, the dwars, &C.. For ''Seglried," the
principal characters in the 'Nibelungenn am in
formed that young II lnyaran of athletic Ueauty
OF Orm and with wonderful tenor vo &c has been
found by Wagner's friend Hans Richter, the direc-
tor OF the hungarian National Theatre AZ Pestn.
The new tenor's name Is Franz Gatz apparently
OF German descent anyway, the son or pesth