, 1876-10-01
ADJUSTMENTS.
The Nibelungen TriIogy-~
Scenery and Stage
Effects.
Analysis Of the Plot Of 'sDie
Walkueren "---The
Costumes.
Mr. Liebling's Recital--The Apollo
Club-Music In the
Schools.
Operatic Notes in Europe and
America-.-Gilmore's
Benefit.
Review Of the Week at the Chi
cago Theatres---Coming
Events.
New Plays Produced in London and
New York---0ther Green-Rooua
Notes.
MUSIC.
WAGNER.
TIE KIRELuNlEM TRIL0QY.
Review Of the Week at the Chi
cago Theatres---Comlng
Events.
New Plays Produced in London and
New York---0ther Green-Room
Notes.
MUSIC.
WAGNER.
TIE KIBELuNGEN TRIIn9Y.
Speeidl Cpyrzspondence ar Ths Tribune.


quent dramas. By associating in simple man
ner, easy to comprehend, certain incidents with
certain musical expressions Of emotion, it gave
q 3etniteness to our emotional associations, so
that On hearing in the later dramas one Of the
motives with which ne had become familiar in
.Rheingold'' recalled by the orchestra, the ef-
feet should be at once produced Of bringing back
TO OUT minds the entire scene connected with
that motive. The action before us would thus
be contrasted with the past events, and mani
fcstly the dramatic intensity Of many situations
would be vastly heightened. What could ap-
peal more strongly to the feelings than to hear,
at the moment Of q hero's tragic end, the mo-
eiatcd with his moments Of greatest happinessa
Ket similar effects are produced by the orches-
IA, time after time, in the later dramas. 1t
,eems to be the cyer-watchful spectator who
IS mindful of everything that passes, and takes
sarc that the other spectators, too shall re
member it all But in 'Kneingold" there are
lew attempts at such effects, since the orchestra
q occupied with introducing to US for Che first
imc the various motives.
In this introduction, however, we become IA
niliar with many other agents at Work to make
The illusion OF theatrical performance as perteIt
Is possible. Wagner makes the drama primary
1Qu Liz 1uA61E bEEOuNA3s LIZ A4tHS ao A%p(tA@
zion Of words for the sake Of musical effect, and
ot the singers who interpret his works be demands
/ declanatory power which shall make the lam
suage intelligiole to the hearers. This Is prec-
sically to insist upon combination in his sing
srs Of the equalites of two arts,-the operatic and
he dra1uatic,-and similar combinations OF pow
:rs supported the performance of the "RDg
les Nibelu1gen " on every side. In costumes.
scenery, iii the orchestra, it is safe to say that
mch perfection Was never before attained atany
performance.
The costumes were the result Of the most
careful 1abors OF Prof. Doeppler, Of Berlin.
Months were spent in obtaining designs from
Ill museums in Europe, and especially that at
Copenhagen, Of all objects which might illus
tra1e the dress, the ornaments, the weapons,
md the household implements OF the men who
lived in the times before the middle ages, when
The belief in the gods Of the early
mythology had not yet been supplanted by
Christianity. From the same sources we're
derived ideas OF the garb in which the gods
themselves were supposed by men Of these
lines to be clothed. But these ideas were al
most all isolated from one another. The de-
1ign OF shoe, for instance. would be obtained
Irom one place; another would furnish other
designs for shoes, drinking horns, helmets, etc.
aud from q third would come buckles,
lets. It remained for Prof. Doeppler
to combine all these materials in
the harmonious anu 9eaut1ql manner Whlch
now appears in the "Ring des Nibelungen."
! had an opportunity OF examining them all
with such perfect blending Of all the combin-
ing elements in their proper subordination to
oae another, has never becn surpassed; from
he bracelets and shawl l-plns to tue Shields, trom
the dress o1 fTae@d, "atn more thau . nunoleo
rafting pendants, 70 Inc SUITS mace Oh tne
res 9atnfa which, 5kS the chorus DC in Gotterauer @
mug {tbe only one u Tue Jour ofamasl wear,
everything scented incapable OF Improvement
And the costumes were seen 70
Inc advantage on Inc lo1ms Iaat
Eorc them For it Is one OF Wagners
ir,evocable demands that the men and women
VINO play MS cnafactefs snall approacntn n staenle m
the people ot the heroic days 70 ~nicn tney pe-
long. Certainly the men ana women OF Inc
iang dGs Nlneinngen W.T., ~ tor ,axaanteI eae rusi
upon any other stage One would be at loss
to account for them, u one tnousnttnem CHOSEN
oorhood Of Bayreuth.
~,
III.
The superiority OF the scenery was quite as
,oticea,,e as that Of the costumes, Other Eu-
4r..4-, h.ro .vb;,,;+.d scancs of
.r.eatar tn;sh n 4he na;nt;no. Int It would be
scarcely possible to surpass the powerful, mas
terly breadth Of treatment which made the
scenes worthy companions Of the music. There
are very few RAPID changes o1 scene III tne uia
mas, as wagner alnas rA'uet " iinpiess Iue "
IS the aae ssdsets sssstg pss@
" ch The rye of the spectator, from the darken-
81 anditor;,rn. stall fall as upon perfect pict-
u VIZ fSs ;. SIs4sss III ass5tt,
Is slng4t ac', tna.s 1ne snancs fo1,ow o1e m.
IN n',cr ~n'cn @;thout ot intel.nission. Intern In "Die
sss Is tssrs sb one sfe ssss. tsrs S
scenes: IT, ~, .nte ,an1 twn scenes to The
iss3 Hash u ' Observation-Disclosures" with more com
Psea Pie sctea e1sSssr SEEMS sassS yiFSt} 5;;
But With } 9a as NO theatre has ever
vaasty o. ars r nntred the snIeudid storm at the
enSs e1ose Of Rheineold which win its flashes Of Of
iorked lightcng and its tremendous peais 81 Of
mr. V