National Republican., 1883-08-11


in the rear, with no galleries-ths is the
simple yet practical interior construction.
The auditorium is brilliantly lighted, and we
have excellent opportunity for observing the |
character Of the assembly. Bright, intelli- |
gent faces, long haired people, clearly dis
covering the virtuous people with intellectual |
looking eyeglasses; people with none but no |
matter; whatever their appearance, they are |
oil Rctuatod by that common impuse-to |
hear "Parsifal." With some exceptions tho
toilets of the ladies are exceedingly rich and
elegant, while most of the men appear in full
dress suits. The heavy curtain is draped in
graceful folds across the stage, and sways
gently back and forth as if inpatient to open
to view the wonders which il conceals. Our
gazing around is interrupted by the turning
down of the lights and we now find
ourselves in almost complete darkness.
A short, sharp tap is heard from the direc-
tion of the hidden orchestra, and utter silence
follows. Then softly and sweetly the music
of tho prelude steals through air. Simple and
touching, IL gives us even in its opening notes
the character of love and holiness which IL
gradually portrays with such distinct tone
coloring. But how can such music be de-
scribabe2 How can we reproduce in words
that which is almost beyond the grasp of an
artists mind and power of interpretation
For each and all Of the performers engaged in
the production of this work are indeed artists,
honored with royal request TO assist in the
creation of this perfect representation
But to return to the performance. The
simple opening theme or motif" has now
gradually assumed other coloring As in the
contemplation of some beautiful idea the
mind is carried on in O train Of thought
through new and equally charming fields of
phantasy, so can one picture TO ones self the
musical ideas conveyed in these motifs"
which together combine to complete the
work. Now these "motifs" are individually
a. Il s,,Ns 6
plot, and upon each seems to devolve an al
most distinctive duty.
Take for example the "motif" of the
chorus of angels in tho offering of tho holy
grail. Heavenly pure, its strains are heard
from the dome of the temple and then die
away in peaceful quiet. And now note the
wild and furious surging which signals the
approach of Kundry, that woman subject to
the beck and call of the conjurcr Klingsor.
Shrieking in violent frenzy and with tenn
pestuous fury, the orchestral workings an
nounee this being of pitiable subsection to the
dark art of Klingsor. This, then, is known
as the "Kundrymotif." An now, OH how
the heart is touched with the cry of pain
sadly and plaintivcly heard, wrung from the
suffering Amfortasl Then how prettily the
light prattle and childish cheerfulness of the
flower girls sparkle in upon the sober
earnestness of the other themes. What con-
trasts and what direct apostles do we find in
these conceptions!
Take, now, music perfectly conveying the
ideas of the text and the characters of the in
dividuals-let these different thoughts, these
themes, these intentions of the plot find their
reflection In this music. Through all this sea
of sound, now wild and tossing, now calm and
restful, let these motifs" appear and be lost
again in the following movements, and we
may form an idea of the simple beauties and
artistic intricacies of this, Wagners wonder
ful masterpiece.
Little less wonderful than the music are
also the stage settings and scenic effects en-
ployed in the representation. Among these
successes of the stage machinist are two par
ticularly notable. Parsifal and Gunnemanz
are seen passing through the forest on their
way to the temple of the knights of the holy
grail. Arm in arm the old forester leads
Parsifal through the woods into open country;
now they enter again into shady groves; con-
tinuing on they toll over rocks and disappear
again in dark caverns. Again they are seen
vending their way through wooded country,
and again are lost to view in some rocky
defle. This has brought them to the foun-
dation of the temple, and they find them
selves among the dim passages and archways
of the cathedral. Presently, through the
mistT, uncertain lights of these subterranean
windings, they arrive in the hall of the great
| dome, which seems abla2e with the glare of
| celestial light. Now this pilgrimage has been
accomplished by the two personages, without
necessitating their advance of o single rod.
Remaining in one spot, they have simply
| initiated the act of walking, while the
scenery has been continuously and imper.
ceptibly passing on and meeting their every
step with the varying representations men
| toned above.
The other scene referred to is known as
that of the Enchanted Garden" In this the
stage is set to represent magnificent garden
of flowers. Roses Of great size and beauty
grow in profuson; Towering vines hang in
| garlands from the trees. To the left castle
is seen among the luxuriant growth, and, al
| together, the appearance is wonderfully sug-
gestive of fairy land. Tho triumph Of the
art of stage mechanism is reached, when, at
q sudden clap of thunder, and ere we recover
from the start which the crash occasions, tho
entire scene Is transformed into an arid, desert
plain, with but here and there scrub cactus
| to emphasize tho desolation. All this has
taken place in full view of the spectator, and
so deity that we can but wonder at its sue
cessful accomplishment.
A complete description of "Parsifal" would
| tend to make my letter rather voluminous,
and fear that the tax upon your patience
has already proven heavy one. Perhaps,
| however. you will pardon me for adding q
| few notes which may possibly be of interest.
| The performance begins at o'clock. The
| first act last two hours. Tho intermission be-
tween act and act 2 is one-half hour, during
which all leave the theater and promenade
about the grounds or stroll up into the woods
close by.
At $3.50 the trumpets announce the begin-
| ming of tho second act. This runs about an
| hour when follows another intermission of
nearly an hour. Again the crowd leaves the
theater, and many go to the city to their
evening meal and are back again in time for
| the third act. Others find happy content
ment in the restaurant adjoining and belong
| s,N.. DO D Ia atNl nat
opens, and the performance is over at 10.
| The artists billed for this seasons perform
ances are Materna and Matten as Kundry
and Reichmann rs Amfortas Saria and Sichr
as Gunnemanz, Winkelman and Gudehus as
| Parsifal, Degele and Fuchs as Klingsor. So
| you see there is q double setting Of the cast,
| and they play on alternate days. Perform
ances are given every other day from July 8
until the thirtieth, and the price of admis-
sion is twenty marks, about So. The en-
thusiasm attending last years performance
| has lost none of its intensity, as is attested by
| the crowds of strangers and visitors in the
| city, and by the variety and numbers of Par
| sifal souvenirs in shape of medallions, busts,
and pictures of Wagner which we find in all
the large cities of Germany.
The absence of Wagner's genial oounte-
nance is sadly felt. About him there seemed
to reign an atmosphere of kindness and good
fellowship, and many pleasant "reminiscences
| give evidence of the love and esteem which
surrounds the memory of the late master.
S. j. X.
4,