The New York herald., 1876-08-18
The Composer Called Before ths Curtain BY
an hudsncs Of Kings and Princes
CLOSE OF A SERIES OF TRlUMPIIS.
&ah Of Gsgfriei and SaH-lnn0lahm Of Brnnhlds.
as Portrayed in Ne Mlss-DaHa.


The agony Is over, and the grandest Of all operatic
conceptions, the music drama over which Richard
Wagner toiled and dreamed for twenty years. has
been given 70 the world in its complete FORM To-
Gght the trilogy, rather quartet of operas.
was brought to q triumphal conclusion with the
representation OF "G0tterdammerung"-Twili OF
the Gods.) Although "Segfried" as dealing solely
with the adventurous history Of the hero, who may
be considered the central figure of the music
drama, possesses a considerable share Of dramatic
interest yet in point Of varied action, wondrous
scenic triumphs and vivid tone painting the
'TwIIIGuT OF THE aoDs''
surpasses the rest of the work. In it are concen
works, and with their crystallized motives as a
framework Wagner has painted the grandest
musical and dramatic subject that ever entered
the mind OF composer. Since the days
Eschylus no ambitious effort
has been made on the dramatic stage, and
since Beethoven laid down his inspired pen no such
colossal music has been heard the operate stage.
There nearly 1000 people present at the clos
ing performance, and when the curtain fell the
magnificent scene OF Brnnnhilde's selfimmolation
the entire audience rose and the building
shook with rounds Of deafening applause.
A NOTABLE TRIUMPH.
1t was a triumph such as no composer has ever
attained during his lifetime, and can only be com
pared to that memorable scene in Vienna when the
master of all music masters, Beethoven, was greeted
ny no inns tionc no rda
occasion of the performance of the immortal Choral
symphony. Yet the effect at the Festal Theatre at
Baireuth tonight even more striking. Kings,
princes, grand dukes, renowned statesmen, famous
artists and lierateurs and host of other ceebri-
ties cheered vocferously, and the composer came
forward and bowed his acknowledgements to an
audience such never before was gathered within
the walls OF q theatre.
wAGNKR's REMARKS.
1t was proud moment for Wagner, the goal for
which he had long and persistently striven. He
seemed deeply affected, and for some moments
words and voice failed him. He expressed his
warmest thanks in emotional accents and said that
he must defer his remarks on the performances for
future occasion. Yet he felt himself impelled to
speak OF the unfaltering devotion and snblime self.
abnegation OF the artists who interpreted his music
drama
THE ARTISTS REFUSE TO APPEAR.
The artists were then called for but as they had
agreed among themselves not to appear before the
curtain in their ordinary dress, lest the Illusions OF
the stage to which they contributed so much should
be lost on the minds of the audience, the call was
respectfully declined.
THE CAST
The cast OF the Twilight OF the Gods- tonight
was as iollows:-Siegfried, George Unger Baireuth
Gunv,er. Gugene Gura, Hamburg; Hagen Gustav
siehr, yesbaden; Alberch, Carl Hill, Schwern
Bruanhilde, Amalie Materna, Vienna; Gutrune.
Mathide weckerlin, Munich; waltraute, Luise
IaIde, Darmstadt.
THE CLOSING sCoNEs OF THE TRILoGY.
The majestic scene OF Siegfried's DEATH with its
startling surroundings so well betting the end OF
such representative hero, was one to be remem-
bered for lifetime. The hunting party on the
banks OF the Rhine, the joyous spirits OF the IN.
suspecting victim OF treachery the dastardy stab
In the back, tho dying reproaches of the hero and
dramatic climax that stirred to their in
most depths the hearts OF all present Then
came the wild lament OF Brunnhilde and
her seli-immolaton. The horse, Grave, was brought
forward and as she sprang upon his back and sang
her farewell previous TO mounting the funeral pyre
OF her dead hero, the music assumed an intensity
OF passion rarely equalled in the entire range
Of the divine art on this wonderfu scene the
curtain descended for the last time and the trlogy
was ended. Mme- Materna was a superb repre-
sentative OF the valkyr from arst TO last Her
voice and acting LEI, nothing to be wished for in
the deiineaton OF the exacung r0ie Of Brunnhide.
REVIEW oP THE FOUR PERFORMANCES
Looking back on those four performances few
general remarks may not be out OF place here
"Rheingold,n although 1t possesses many at
effects and also as an Illustration OF the
life OF the ancient Teutonic divnlues, was rather
monotonous In musical point OF view. "Die
wakure" was a decided musical success especially
in certain meodious passages, which were vehe-
menuy appauded. Those passages were not ex.
acuy the ones most grateful to the ultra wagner
It's but they were the most appreciated by the ma
jority of the audience.
The Ride OF the vdkyrs and the fire scene were
the scenes that received the largest share OF APP
pause. They magnincenuy scored that they
must be regarded as two Of wagner's mos, powerful
creations. "siegfred" is unique work. idyllic and
characteristic But in the anale OF the tnlosy the
Tery highest form Of musical and dramatic grandeur
is attained
A ROYAL BANQUET
The patrons OF the music drama, among whom are