The sun. [volume] (New York [N.Y.]) 1833-1916, 1877-03-20
ADJUSTMENTS.
Wagner. Tnnrhauser at the Academy.

persons were drawn together in spite of the
storm to witness last evenings representation.
Indeed. it has always been ono of his most
popular and best known works. and has boon
oftcncr given than any other one. except. per-
haps Lohcnerin."
Like its two predecessors-the" FLYING Dutch
man" and Lohengrn"-it belongs to Wagner's
early style. all throe OF these having been writ
ten during the first ten years OF his long artistic
career for Wagner began to write operas forty
three years ago. and II is thrty-two years since
this very work was first brought out ut Dresden.
Neither Is this opera a novelty In this coun-
try II having repeatedly been performed in this
city and elsewhere by various companies during
tho past twenty years. Carl Bergman was the
first to bring it before the public in this city. and
this he did in 1859 at the stadt Theatre. and It
is said, in very excellent manner. for. in those
days. he was most thorough in all that no un-
dcrtook.
This opera hns had m evcntful history. II
did not succeed In obtaining q hearing in other
Berlin or Vienna for many years after II was
known In Saxony. and the recollection OF the
wild tumult that WIS excited in Paris In 1861.
when IL was there produced at the Grand Opera.
is not likely soon to be forgotten. Then Wagner
had the whole influence OF the court in his IA
vor. and carte blanche from the Emperor to
make every expenditure that he thought III to
give the work perfect setting after his own
ideas. At Berlin II had cost thirty thousand
dollars. and at Paris the expenses wero even
greater. but tho Jockey Club Of Paris. a
powerful body Of aristocrats set themselves in
the most shameless way to kill the opera. using
whistles and cries 10 drown the voices OF the
singers. AMI. in spite Of the fact that the popu-
lar enthusiasm was with Wagner. the opera had
to be Withdrawn after three repetitons.
Though. as has been said. this opera Ia not
novelty here. vet so long time has passed since
It has been given. that reference 10 its plot
may not prove either trite or uninteresting.
Wagner laid his scene in that time of romanti-
cism and knight errantry. tho thirteenth CEN
fury. when the troubadours and minnesingers
played so conspicuous part In Europe, when
chivalrous deeds were In esteem and music was
an art which every knight felt II a duty TO prac-
tisc. The burden Of their songs was the praise
Of virtue and the reverence Of woman. Ono OF
the notices oftroubadours was: MY soul to God.
my life for tho King. my heart for my lady.
my honor for myself" Those were the
" dark ages. SO called. but they had their vr-
tues. II has always been purpose Of Wag-
ner's 20 take his hearers out Of relation with the
barren actualities Of life and to transport them
into a region OF poetry and sentiment. that
his audience may bo carried ont OF themselves
and away from their everyday life and into an
other realm whore the imagination Is the con-
trolling element. Such period was this Of the
thirteenth century when in a ierNur OF religious
ecstasy half Europe took the crusading vow and
nocked 10 the redemption of the Holy Land. and
when poetry and music and frats Of arms were
the occupations of the higher Glasses. Ii was
also an age full OF superstition.
IL IL of these elements that Wagner has COM
posed his opera. Two great nntagonistic forces
are shown IN II. Onthc one hand the unrestraned
excess of sensual enjoyment; on the other the
highly emotional nature and excited through
the medium Of devotional music.
Tannhauser. the Mime singer. is tho unhappy
man ia whose mind this conflict II forces RACES.
In tue thirteenth century Christianity hhd not
ye. quite driven from ne minds OF the peo-
iorefnthers. fairies and witches were still
implicitly believed in. and SO was the Goddess
trina,,- with the komnn Venus that she was
as as. 80 MANI and was supposed TO hold her
yen1sbore. near War 81 m m the
rannhauscr, knight and "Jnstrel. had
Of the singers at Wartburg and had. ~ ,his
tournament Of song, won also the love OF the
Princess Elizabeth. though OF this he was not
aware, Soon after the contest he disappeared.
ana. ,despairing OF ever gaining EliH,beth's
Venus where for year he abandoned himself
TO her sway.
1t Is with This scene the interior Of tho Venus
these pleasures. the Minstrel at length returns
10 the outer world. and soon aft"r regaining
-trcl knights. his ola compatitors. Who
arr "a their way ~ a fresh contest at the Wart-
hurg. They ask him where he has been to
which hi- answer il, come from attt. whore
ihore is neither peace nor rest" Being assured
That he viii again SEQ Elizabeth. he Joins the
The second act is taken MP with the tourna-
mont OF song. The theme Of the con-
st IS The praise Of a pure and exalted
Of Elizabeth. The fatal glamour Of the
Venus mountain is still upon Tannhdus"r, ant
T.. IaH NtHfH
frcnzicd praise Of tho pleasures OF
Sensunlity., lie So ouiracos his hear-
To -lay him IN the spot. wl,n Elizabeth. inter
posing. saves his life. 4 train ~ pilgrims is
rannhauser suddenly comes To lis scnses, and
"a despair shame. and humility Joins them.
With this the second act con'ludes.
having, learned that b. had once, given
a@ss G1 i9 10 the oN ysngs wSrsnp Ss
it would be as easy Tor his staf 10
put forth buds and leaves rs FOR such a soul 10
Tannhauserb, renewed, lndin.; himself nhan-
dOncd and an out asst anOn- men. Wtnds his
way back toward the Nenusbt ~, but rs he nrars
It he falls in with tho fdneral procession
Pilgrims Is met. who declare Wiraelc-ho
stan Of tho Holy Father has put forth green
leaves, and he sends the tidings into every hnu.
declaring tho Almighty 5 pardon 10 the repent
ant sinner.
1t will be seen that this plot gives opportunity
20 excellent situqton-. dramatic and speeticu-
laris advantage has always been taken
Gt o ,afos + yt k' sar S f, oHers spleG i,
any attempt wouhi be made here e. follow this
rulf for tlie sake Of the few nights that tho
opera will hn represented.
In i.'t the scenery WAS Of n very ordinary
chArI q. nor have we mu IN 10 say in praise of
thr manner II when the work was pres ented IN
mndr fo the opera. not from any m 'rit that ts
irSS,S,fsnl repr,sfn'auon has, hut beeausf the
So WAGNER