Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-08-24

of the knights. Anafortas has become more
desperate, the knights are hopeless. AS
Geernen1dnz and Keepdry-the latter when
removed from the influence OF Klingsor
sustains the position of serving woman to
the knights, who are ignorant Of Klingsor's
power over her. Converse, a knight clad
in black armor. having spear. appears to
them and reveals himself as Pdrsvdl. 10
Geernemanz he relates the story OF the
spear and his purifying experiences. Tne
old knight, rejoicing, conducts him to the
despair. calls on the knights to slay him
and end his pain. Parsyal, until then un-
seen, turns toward him and touches the
wound with his spear, thereby purging Am
fortdS from sin and healing him. The
knights hail Parsifal as the eheaven-appoint-
ed one.
The music Is very beautiful, the third
act being perhaps the most serene and I'M
pressive page in Wagner's writings. The
exquisite scene Of the flower maidens and
the Good Friday spell music are perhaps
the most familiar to amateurs Of the United
States of any of the concert excerpts from
"Parsifal," !" though the finale to the first act
has had performances both in Boston and
New York. The system of leading motives
is nowhere more beautifully illustrated
than in ''Parsifal;' there are
FEWER PRINCIPAL THEMES
than in either of the single dramas Of the
Nibelungen, but the secret of their use
does not tail nor talter.
The orchestra and the stage setting equal
all expectations. The ensemble of voices
and orchestra is remarkable. There is no
preponderance of instrumental tone, there
is no covering of voices, but everywhere q
beautiful blending of both pervading, but
not overwhelming the theater, the like Of
which is difficult to imagine in music. The
degrees Of tone which the conductor brought
from his band were simply astonishing, vet
there was never fortissimo. The quality
of the band is exquisite, but Tor the orches-
ira more should be said.
The stage effects introduced in "Parsi-
fal'' are unique as they are wonderful. As
Gurnemdnz first leads Parstfal to the hall of
the Grail, the appearance of the country
changes; the lovely meadow scene yields to
cavernous rocks, mountains are traversed
ere the eve rests on the domed hall of the
Knights OF the Grail. The effect is possible
because Of the immense revolving stage;
similar illusion is produced in act three,
only then the stage revolves in the opposite
direction revealing an entirely different per-
spective. Again, in the second act, where
Klingsor's castle is suddenly transferred in
to a garden of flowers, the stage sinks rap
idly out of sight, bringing into view an
ENTIRELY NEW SCENE
fully set. Formerly the flower maidens
we've concealed behind their counterfeit pre-
sentiments, but the better practice prevails
now of having them enter from the sides.
The overthrow of Klingsor's castle Is an ex-
preston of stage mechanics thoroughly real
and startling.
One can never overestimate the genius of
Wagner, who planned every detail of these
wonderful transmogrifcations. The paint
ing of every portion of the setting, all the
devices used, are the work of skilled artists.
Here is, indeed, achieved that unity for
which Wagner lived and waited.
The choral ensemble, particularly the ex-
tremely difficult Grail scene of act 1, were
superbly done; the elasticity Of the voices,
the sympathetic support given them by the
orchestra, and the intense effect of
the latter being indelibly impressed
on my mind. The flower girls
music was simply exquisite; when it is re-
membered that the chorus at Bayreuth is
composed of picked singers, artists, it may
be possible for the reader to share some Of
my enthusiasm in describing their work.
In the efforts of none of the solo singers did
detect anything but complete devotion to
the work in hand. I do not find it easy to
talk of them individually; what they did
was all
so ADMIRABLE AND FITTING.
I was impressed with the dramatic
ability of Van Dyck, though disappointed
in his voice, Materna did not make Kun
dry so ferocious in the earlier scenes as 1
had drawn the character mentally, but In
the opening of act three. where, humbly she
bathes the feet of Parsifdl, her acting was
perfect. Her voice has fallen off somewhat
since she was. in America. The part of
Gurnemdnz is most sympathetic, and was
beautifully sung. Reichmann is fine
actor. G. II. WILSON.