Wichita eagle. [volume] (Wichita, Kan.) 1886-1890, 1888-12-30

and then comes the use Of electric lights,
which form SO great part OF the Elusive
beauties of the spectacle
ELECTRIC MOONLIGHT.
Upon the surface Of the Rhine falls the
moonlight and shimmers as it tips the points
of the rivulets This completes the illusion
that makes the scene as though actually oc-
curing beneath the water. The shimmering
of the moonlight and the succeeding sunlight
on the Rhine viii be produced by five electric
lights, placed on either side of the stage,
their light pouring through glass slides OF
green and white. The green slide viii be ro-
tated on the surface of the white, SO that the
white light shall come unrestricted only
through the angular portions Of the white
slides that are left unobscured Thus the
white radiance viii fall upon the gsu7e sur
face Of the Rhine In pointed reflections, con-
stantly changing and producing an Illusion
which is well nigh perfect The sunlight is
shown in the same way, save that yellow
slides are used instead Of the white ones.
Thus two of the many mechanical difficulties
Of the opera are overcome.
After Albrech, who has quite modern
longing after gold, climbs up the central rock,
the Rheingold appears glowing at its base.
This is done by having the mass Of bullion rep
resented by yellow glass, within which is an
electric lamp. The latter is Illuminated and
glows with a light which is SO exceedingly
seductive to Albrech that he goes down
again, takes it, and disappears with the mass,
the light meanwhile being disconnected.
Then morning comes, the Rhine glows be
meath the sun, and an open change is made
20 %I,oa Of Vol hall SC cti
completed by the giants. This scene is
changed within two and half minutes, the
stage being obscured meanwhile by gauze
clouds and steam, which arise from the rocks.
In the third scene, which is changed in the
same manner as the preceding, and which
represents the interior of Nibelheim, the
abode Of Albrech, the gnomes are beating the
Rheingold into various shapes. Hero occurs
one Of the most charming musical episodes Of
the opera The gno1nes hammer away ac-
cording to the requirements of the score, ap-
parently on bars Of gold, but in reality upon
twelve bars Of steel, all pitched to required
tone. A melody results which is charming.
Here, too, Wotan expresses a desire to see
Albrech change himself into WORM and
the latter accommodates the father of the
gods, for while clouds Of steam arise out
crawls the "worm," or more properly, a SER
pent, ten feet long, made Of papier mache,
with electric lights for eyes and steam for
breath.
HOW RAINBOW IS MADE.
There Is one scene in the second and last
act, yet 1t has two incidents which would as
found the average stage carpenter or man.
ager. 1t represents Valhalla firmly built
upon great rocks, which tower upon every
side. Fafnir and his brother, Fasolt, desire
TO be rewarded for their work upon Valhalla
by being given Freya, but they finally con-
sent to a compromise and decide that they
will accept sufficient gold to cover the god
dess in lieu Of her divine person. Their STATS
are stuck up on the mountain side, and
Freya, standing behind them, is soon COM
pletely obscured by the Rheingold treasures
that are her ransom. Fasolt and Fafnir get
into row about the marvellous Ring and the
former succpInbS to his more powerful
brother, who takes the treasure away, and is
not seen again until Siegfried makes it IN
pleasant for him as the dragon.
This action occurs il broad daylight, but
as soon as Fafnir departs with the Rheingold
twilight comes. Dark gauze screens fall and
night appears. Bonner stands upon great
rock with his storm producing hammer and
smites it. No sooner does he do SO than light
ming flies from the rock and thunder rolls
across the scene. Again and again be strikes
the rock until the dir is filed with the war of
the electric light lightning and the sheet cop /
per thunder. Then comes peace and the sky
begins to tighten. From great cliff to the I
entrance OF Valhalla extends a rainbow.
across which the gods enter their chosen
abode.
This Is an actual rainbow, too, and persons
Of actual fesh and blood do cross it. This is
how it IS done: During the preceding scene
there is q screen of rocks extending from
precipice on enc hand to Valhalla on the
other. A man is stationed behind a rock
about twenty-five feet from the rear of the
stage with a powerful stereopticon whose
light is thrown through curved prism. The /
reflection Of this is made to correspond ex-
actly with the curve of the rock screen, be-
hind which is drop that is precisely the
same tint and texture as the sky drop. AS /
soon as morning breaks the rock screen is (
drawn rapidly away and the rainbow ap-
pears as though it were bridge from the |
earth to Valhalla. Behind the substitute for
the rock screen is a succession of steps an
swering exactly to the curve of the rainbow,
and up these the gods ascend into their
home Thus the illusion is that the gods are
actually walking upon the unsubstantial /
bow, which is itself suspended in midheaven /