New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1876-08-31

But Erda would give no advice In the
coming crisis of the divinities of Walhalla. She
had parted with her wisdom to Briinnhilde, and
when Wotan told how he had imprisoned the Wal
kire in sleep and fire. Erda vailed her head in dis
may and was silent. The god foresaw the downfall
of his race through the triumph of human free will
in the person of Siegfried but in accents of mimi
table dignity and sadness he avowed that he did not
regret it, and after scene Of great power, pervaded
by dignifed pathos he commanded Erda 10 Sink
again to her everlasting sleeps the light faded away,
and the Wanderer was left alone. The storm mad
now ceased, and dawn began to show IN the SKY.
With the morning light came Segfred following MS
bird, which fluttered moment upon the scene and
then disappeared among the rocks. Here then was
the path to Brtnnhde's prison, but when Siegfrled
attempted to pursue the way. Wotan with
stood him, and barred the approach with
his spear. A blow with the sword Nothung
cut the spear in two. The power of the gods was
forever broken While the pOnderous motive in the
bass so often cited was Numbered forth-this time
however, with hating and disturbed rhythm, to
indicate that the law at last fulIilled-lghtnng
flashed, flames began to CLEAN among the rocks,
and Wotan disappeared. Siegfried hailed the out
break of the flames with cites of joy, and as they
gradually oyerspread the rocks his oXutatiOn rose
He plunged into the midst of them. We saw him
for "a few moments pushing forward, and then the
clouds of red steam rising from below and tho rudy
vapOrs dropping from above enveloped the whole
scene In a moment a curtain of gauZe had fallen
across the stage, and behind it the whole theater
seemed to be wrapped in flame and curling smoke
The orchestra meanwhile continued an lnteflude IN
which there was marvellous combination OF the
two characteristic melodies of Slegfried with one
of the motives of Wotans Farewell III the last scene
of "The WalkiiTe."
When the flames died down we looked upon the
other side of the barrier of ire-the summit of
Briinnhildes rock, as in the Sd Act of The Wal
kire" Briinnhilde lay as Wotan left her. the helm
over her face the long shield covering her body In
the background the glow of advancing day struggled
with the fading light of the flames, when Siegfried
mounted the rocks and came upon the scene He
raised the shield and helmet he cut the fastcnings
of the armor, and BIiinnhlde, waking from her
sleep recognized in the young volsung her appointed
deliverer The whole of this last scene was virtually
a love duet of the most imprisoned character, its
spirit changing as Brjnnhilde, no more goddess
but now in heart and impulse a woman, was
swayed in turn by fear by trust, by modest
tenderness and burning salove. and Sic"frcd gave
loose rein TO feelings which seemed to engross bis
whole nature. Love duets alike Of the tender and
the fiery sort are common enough IN operate music
but no ono has ever written scene like this which
phrase and evidences of such deep insight into the
human heart. 1t has all the characteristic elcqucnce
and clearness of WagncF's peculiar form of melo-
die defamation and great deal of what the least
cultivated ear recognizes as sCave and well-dehDed
melody. The composer resorts in 1t to common
device of the older schools which he sel$Om allows
himself employing the two voices IN concert
instead of alternately. and the rapturouS finale re-
minds one somewhat of the Italian sre'td. Here Frau
Materna. the only woman living, l am sure who
could sing Brinuhilde, was superb. Unger was not
q bad Sicgfried. Wagner chose him mainly for his
fine figure and bearing aad when he began to study
his part he was a musician Of very ordinary ahi-
ties. He mas still great deal to learn; above all
he has to learn how to avoid shouting and to keep
is voice clear and true through long and difficult
performance But minor defects OF Interpretation
were lost sight of IN the effect Of scene which
reused the whole audience TO extraordinary excite
ment and brought the evening to glorious close.
j. Il. Il. III.