The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1874-06-28
The German Masters
New Theatre.
Where He Will Perform the "Ring
Of the Nibelungen.'
The Plan Of the Theatre and
the Opera.
WAGNER The HOPE OF THE FUTURE.

BAIREUTH, Bavaria, May rs, 1874.
l have felt the necessity OF saying much Of
Wagner's music drama, in order to show you that
the composer Is neither fool nor an en- thusiast
IS 80 many have styled him, ana to prove that the
term emusic OF the futuren Is thing very much
to be prayed for. The innovations in operate
practice to be inaugurated ny Wagner are numer-
GUS, and Will embrace, besides the form OF che
theatre, the natural training OF the singers the In
production OF operate system IN curbing t he
license and extravaganza OF individual ''stars,"
the suppression OF the mania for applause among
singers, and the general working together Of
company for the good of the performance, not of
the individual. One Innovation is subject OF
great interest and controversy among musi-
clans-namely, Wagner's intention OF making
his orchestra Invisible to the audience.
On this subject Wagner SPOKE to me
at some length alter visit had paid to the new
theatrical structure with the young and talented
architect, Herr Runckwitz, who has the super IN
tendence OF the building. Permit me, however,
before repeating his interesting conversation on
this point, to describe the theatre, when better
idea OF the innovation may be obtained.
THE NIBELUNGEN THEATRE.
The Nbelunecn Theatre Is built on gentle ele-
walton distant about hall mile from the city. In
SUMMER 1t Is delightful walk thither; but in this
the way is muddy and disagreeable. The plot OF
ground on which the theatre stands is about an
acre in extent and was presented to the composer
by the city OF Bareuth. The external structure IS
NOW finished. hundred and fifty workmen were
employed on ii for eighteen months, and now some
dity or more are busy IN furnishing the interior
and IN fitting in the woodwork OF the stage.
The building is of the very simplest construction.
The framework is Of wood and the filling In
Of brick, only the portion devoted to the stage Is
built IN solid, durable fashion. Looked at from
the outside the theatre has style peculiarly its
own. 1t has no resemblance to other theatrical
structures. Mr.. Runckwltz, the building. master,
furnished me with some details The front has
breadth OF ITO feet; the length is 24o feet.
N . THE STAGE.
The most remarkable part OF the edilce is that
devoted to the stage. Here no expense will be
spared, while the part devoted to the audience
will be almost devoid OF ornament. The stage has
breadth OF 95 Icet and length oil 10, and an adj
dtional stage behind this Is 40 leet broad and 40
feet long, 1t sinks from the stage floor to some 81
feet, and it's entire height from the floor Of the ex-
cavation up to the "pulley-noorn is l7o Ieet. But
these figures give no adequate idea Of the grand
scale on which the stage is constructed. Looking
mp from the parquet the nve-nch balks Of the pull
ley floor diminish to hall their actual size. The
great depth below the stage Is necessary, es,ec.
tally In the "Rheingod" scenery, which must de-
scend as well as ascend. There Viii be ten side
scenes. On either side of the stage
are Two ranges OF dressirg rooms for the singers,
Mnicn VII oe couuTyrtably furnished. At each Of
the four torDesrs of the stage proper massive
water tower is built in solid style. There are no
arrangements for heating the theatre, since the
performances will take place in the summer
months.
THE AUDITORY.
The portion set apart for the audience Is in
breadth LA feet ana in length, from the royal cir
Gle to the proscenium 20 feet. The seats rise step
by STEP from the orchestral space up to the circle,
''amphttheatrically," with the difference, as seen
our plan, that the seats grow In length the fur
Their back they are removed from the stage. There
are no side galleries; the royal "crcle can hardly
be designated by that name since 1t Is only few
feet higher than the last row Of seats. Above the
royal circle there viii be, however, q gallery for
the accommodation Of 500 persons, citizens Of Bal
reuth, who Will be invited by Wagner to
attend the performances The "amphitheatre,n If
10 We may call it. Will accommodate 800 persons.
The approach to the seats will be very practical.
The entrance to the ten or twelve front rows will
be through Jour doOrways at either side; the back
rows VIII be approached from the front Of the edi-
nee, from the vestlbule, by two passageways
running beneath the last six seven rows Of
seats and emerging about q third Of the way
Down the amphitheatre. The gardrobes for the
amphitheatre extend the whole width OF the thea
tire Immediately beneath the royal circle or gal
lery. There are no pillars to obstruct the sight.
The view Of the stage will be perfect from every
seat OF the house. The plan does not do justice to
the amphitheatre in this respect The proscenium
itself is forty-hve feet wide, and is, believe the
widest in Germany. While the front row of seats
has about the same width the last row and the
royal gallery will be nearly double that extent-at
least 100 feet-and the depth only fifty sixty; the
stage perspective will be nearly perfect from almost
every seat in the house. The interior decorations
win be Of very simple character There will be
no monumental decorations. The point OF attrac.
ton Will be the stage.
THE oRCHEsTRA-THE MYSTIC ABYSS.
Between the stage ana the audience there is an
excav ated space, where Wagner Is to place his
orchestra. It lies seventeen feet below the first
row OF seats, has a width OF about twenty-elght
feet ten of which extend under the stage) and cx-
tends not only the whole width OF the stage but the
width OF the portion devoted to the audience and
M to the heighth OF the pulley balks. This space
has been styled by Wagner the ''Mystic Abyss.n
Here he places hts orchestra, which consists OF LOG
Instruments. (rhe largest orchestra in Germany
u, imagine, that of Munich, and numbers seventy
amphtheatricaily the leader occupying the highest
position, SO that though his magicians wand will
not be seen by the audience he will have fun CON-
mand OF the singers on the stage. There will be no
t0otllghts "And where are you going to place the
promDter's DOxW THAT answered my young
Wagner will have the singers firmly seated in
their rOtes before the performances commence"
Warner intends that between the audience and
the singers and scenery nothing shall intervene to
interrupt the view attract the attention, nothing
out tnls Invisible wall OF music.n Herein consists
y uf /
had some conversation with the composer on this
reorm or innovation on q later occasion. The
impression one gets OF the theatre in its present
unfinished condition is that 1t will be very COM
lOrtable coy place. The roof of the amphitheatre
looks very low 10 the eye accustomed to theatres
ceiling OF the amphitheatrical portion is more than
thrice the height of that in the lecture han or
Cooper Institute l ought to mention tnat ad-
Joining the royal gallery are several drawing
rooms, and at either side OF the theatre. on