The New York herald., 1876-08-14
w A G n e r.
"Rheingold" Presented Before the
Celebrities Of Europe.
ROYALTY PAYING HOMAGE TO GENIUS
First Performance of the Great
MuSic-Drama at Baireuth.
GRAND SCENIC EFFECTS.
Silence and Darkness Among the Audience and
Light and Music Oh the Stage
A REVOLUTION IN OPERA.
The "Ring Of the Nibelungen" an
Assured Success.
Silence and Darkness Among the Audience and
Light and Music Oh the Stage.
A REVOLUTION IN OPERA.
The "Ring Of the Nibelungen" an
Assured Success.

Assured Success.
tsQHCIAL DESPATCH TO THE HERALD By CABLE.
BAIREUTH, Bavaria, August Is, 1885,
The 18th OF August 1876, will form an epoch in the
history OF music second to none in Importance. The
long dream Of Richard wagner's life has been
realized, and his unquestionable genius, ending
will, indomitabe perseverance and rooted bcefnot
only in the heavy task he imposed on himself but in
his absolute power to accomplish it successfully,
have brought forth the desired fruit. When, thirty
years ago, his opera Of 'Rienzi" produced at
Dresden 1t but the rejection of the style OF his
early friend Meyerbeer. Since that time his artistic
nature has cast or all fetters servile imitation
md the elimination of the labors of a lifetime is
found in the great music drama which commenced
to-day in this town of Baireuth.
PERFORMANCE OF "RnEINGoLD,"
which is the Introductory music drama to the 'Rng
OF the Nibeungen," commenceda at seven O'Clock this
evening and lasted three hours Long before the
prescribed hour for the opening the testa theatre
al Baireuth excited and the vast concourse Of
ment when they could enter the temple OF music,
the Walhalla of the lyric art.
ROYAL VISITORS
The Emperor OF Germany the Emperor and En-
press OF Brazil the King OF Bavaria Prince George
of Prussia, the Prince OF Hohenzolern, Prince
Wilhelm OF Hesse, Grand Duke Vladimir OF Russia
the Grand Duke of Meckenberg, the Duke of Anhalt-
Dessau and large number of other titled
magnates occupied seats In the Princes Gallery.
About sixty Americans attended the performance.
The scene in the auditorium of the theatre before
the commencement of the music drama was an ex-
ceedingy brilliant one. Looking up from seat in
the amphitheatre toward the Princes Gallery the
eye dazzed with the splendor OF the uniforms OF
the suites OF the various royal personages, forming
bright background to the large assemblage Of visit
that filed the 1900 of the amphitheatre.
ABOVE THE ROYAL GALLERY
was n second one, in which large number of the
citizens OF Baireuth were seated. An unusual fca-
ture for German opera house the prevalence
Of full evening dress, which lent an additional at
traction to the body of the theatre.
THE WARNING FANFARE.
At seven O'Clock eight trumpeters stationed in
he opening front of the theatre over the amph-
theatre, gave the signal for the commencement OF
the work, and the echoes of the long trumpet call
had scarcely died away toward the distant Fichte-
gebirge and Kulons when from the
"MYsrlc ABYssn
the opening strains of the invisible orchestra OF
Hans Richter noated through the house. To those
accustomed to the brilliantly lighted effect of the
great opera houses of Europe the appearance of
the Wagner theatre very singular.
THE AUDITORIUM WAS QUITE DARK,
light there being considered by the composer cal
culated distract the attention OF his hearers An.
other strange the suppression of all out
ward applause, which is also regarded by Wagner
as annoying and destructive to that continuity OF
thought necessary for the full appreciation and en-
joyment OF his great work.
When the curtain rose on
THE FIRST SCENE,
the bed OF the Rhine the effect was fe-like that
IL was difficult for the audience to restrain their
delight. The three Rhine nymphs or mixes, wog-
linde wengunde and Fosshilde, appeared, gliding
about singing and chasing each other
among the rocks. The ''water muscn
which accompanies this scene is of that lowing
undulatng character that ITS the dreamy songs
OF the nymphs and is full OF charm. woginde
sings the opening measures with the strange
words, "weia waga woge, du wellc ~ The
voice OF Nine. Lille Lehman blended admirably
with the orchestral accompaniment Marie Leh-
mann and Mlnna Lammert who represented the
other two nymphs, were no less effective. The ap-
pearance OF the dwarf Alberich and his seizure OF
the magic .Rheingodn formed the next feature In
the opening scene.
THE HOME or THE GODS
From the waters of the Rhine to the mountain
tops ON which the gods were discovered
slumbering, was nolseless and remarkable
change. Here occurred long duet between
wotan (Odin) the god, and rricka,
his wife, followed by some characteristic
music for the giants. Falrner and Fasolt
AS the scene progressed Frcia the goddess of Love
and Spring; Froh her brother, Donner Thor Loge,
the fire god, and Erda EARTH heard each hav-
Ing some peculiar instrumental nlotir by which he
or she might be recognized This phrase although
generally short, partook much OF the character OF
the parsonage 1t represented
NIBELnEIM.
From the mountains to Nibelheim, the dark abode
of Abcrich and his dwarfs, sombrc change.
The repulsive Aberich monopolizes the greater por
uon OF the music of this scene. and 1t was a