The Indiana State sentinel. [volume] (Indianapolis) 1868-1895, 1889-11-06

umns and like sprays along the midnight
OF the columns, the former series of which
are continued around the cornice of the
princes gallery, NAV be called decorative.
BY an ingenious arrangement ingress and
egress are provided, each two rows Of
seats having separate entrance.
During performance the lights in the
auditorium are lowered as much as posi-
bic, and to such an extent that reference
10 score or libretto is next to impossible.
Thus, there being no orchestra visible,
and no gaudy decoration TO distract the
attention, the stage effect be it of sight
or sound, is wondrously heightened and in
tensihed. Indeed, looking from the center
OF the auditorium upon stage setting at
Wagner's theater is like looking from the
cleaning of some restful cavern out upon
the great glory of the rising sun. One
cannot but think of Rembrant effects.
The very mind and sight and all faculties
OF mental and spiritual perception are
focused upon the one spot which Is given
positive radiance by contrast. The cost
of the theater was in the neighborhood
of S225, 900, and considering the difference
in labor and value of material in Germany
and America, what would equal an outlay
of 100000 in our country was expended.
This fund was raised by direct taxation by
Wagner upon 1000 pdtroRats, or members
OF Wagner societies, who were virtually
commanded to each contribute sos. Only
SIPS, 600 came this way. Then Wagner at
tempted to secure the remainder by giving
performances of his higher works, but only
about $4,000 was thus secured. Finally
the late King Louis gave the remainder,
$4,000. / had the good fortune to witness
the first performance of Wagner's last and
Il . -.
as TO become personally acquainted with
the composer, his wife and Able Listz at
that time. This gave me an opportunity
to know how large number OF persons
were necessary in the production of the
wonderful music-drama. 1t clearly shows
how impossible of popular rendition are
Wagner's strange creations. There were:
General managers, Feustel Muneker,
Gross and Heckel conductors, Levy
and Fischer; choral directors and
conductors assistants, Humperdink,
Porges. Kniese. Frank, Stitch, Thoms,
Merz, Eichel and Hausberg; scenic artists
and Costumers, Carl Brandt who died in
December, 1881, his son Pritz Brandt,
Bruckner, Fricke, Joukowsky, AIessrs.
Plettungs, Schwab and Moritz, these only
including the heads of corps solo artists,
Pdrsitdl. Winklemann, Gudehus and
Jaker; KUndry, Materna, Brandt and Nal
ten; GlTnemdH-, Scaria and Siehr; DIM
tortds Reichmann; KtngsOr Hill and
Fuchs; TitTel, Eindermann; the Knight,
Stumpf; the four Sqtires female voices
keil, Galfy, Mikory and Won Hubbenet;
flower girl soloists; AUdre, Beleo, Pringle,
Meta. Galfy, and Person; flower girl
chorus, twenty-four voices; the massed
chorus, met zo-sopranOs twelve; teGors,
twelve bassos, twenty baritones, eighteen;
besides a separate chorus of boys voices
for cathedral and distant effects number
ing fifty, bringing the grand total, with
the orchestra, which had 104 performers,
up to PSI persons. With those engaged
in various other essential capacities. the
number of persons actually employed was
fully 400.
Everybody knows the history of Wag-
ner's obscure origin; his triting studies;
his surprising impudence while yet UNI
bearded in proclaiming new, and, to him,
the only correct, school of composition in
lyric opera his revolutionary career; his
exile TO Switzerland; his ill-success in En-
gland; his rebutis at Paris, despite Myer-
beers noble aid, repaid by the subsequent
cruelest satires by Wagner; his literary
diatribes against all who loved the melo-
dies OF even so great predecessors as
Mozart and Beethoven; and his gen.
eral stupendous egotism self-conscious-
ness, assertiveness, impudence, aggressive
ness; or whatever it may be called and
his finally winning the heart and treasury
of the erratie King Louis of Bavaria through
the presentation OF Der Fliegende Hlol-
lander" and his later triumphant kingly
SWAY here at Bayreuth while giving the
world, or rather his thousands of pilgrim
disciples, representations OF his colossal
music dramas, from the Ring of the Nibe-
lung" in 1876, 10 "Parsifal in 1882, as
were never elsewhere accorded any art
creation on earth. But everybody does
not know the chief source of his success
nor much OF his personality; and few, it
seems to me from my own opportunities
for observation and analysis, have had the
calmness and patience TO give both the
composer and his extraordinary product
their Just estimate.
Just two people really made Richard
Wagner immortal. One of these was the
woman whose hand | grasped at "Wahn-
fried, the same one | had met in 1882 at
the same place, whose lofty calm, marvel
Ously winsome imperiousneSs and impass-
iveness, and her supreme loyalty to her
husband then, converted all enemies TO
friends, and now whose shining faith in
the dead Masters" dedication and her
own final reunion with him. would trans
form the whole world IN Wagnerian dis
ciples could it be brought within her in
fiuence. That woman was once Won
Bulow's wife. Wagner and Won Buiow
were sworn friends. Wagner with his
mighty genius for concentrating all human
aids upon his own resistless crea-
tive and protective forces, saw, or felt, or
believed that this one woman was as
necessary as life itself 10 the complete de-
velopment of his purpose TO create for the
world an absolutely new standard in lyric
music. To think was TO act and compel
according act, with Wagner. So he ran
away with this Cosima Won Bulow, LISTS
daughter; and as soon as Won Bulow got
a divorce, Wagner married her. Her
children by Won Bulow and those by Wag-
ner were ever, and now are, a happy
brood together. These are the plain facts.
Those may discuss them who wish.
Whatever else it was, it was a union of
genius and force without which Wagner
would have broken and failed beneath the
remorseless storms OF opposition his own
remorselessness compelled.
Probably now sixty years OF age,
madame Cosima" is a head taller than
was the short and poddy Wagner. Quaint
and odd in dress, spare and gaunt in
figure, the startling effect is heightened
by the longest and scrawniest neck ever
connecting woman's head and frame. She
is as sallow as was her venerable father.
Deep but phenomenally bright and pierre
ing ewes CLEAN out under heavy broWs