The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1889-04-04
LETTER FROM BOSTON.
Annie Cary Raymond's Reception at
Music haIl-The German opera
The Ring of the Nibeiungs.
Correspondence of the Press.l

Correspondence of the Press.l
BosToN, March 80, 1885,
Was not that a magnificent ovation &C
corded Annie Cary Raymond last week at
Music Hall? Such reception was well
calculated to cause the hearts of true Port
landers to swell with pride, for does not
Portland claim her for its own? Something
more than enthusiasm for the greatest lyric
artist America has ever produced was felt
In the tumult Annie Louise Cary's appear
ance aroused. 1t was, besides, love for the
noble qualities of the woman; an admiration
for the true-hearted New England girl who
married her lain love" and turned her back
upon fame and fortune for his sake. But
what q pity for all that, that we cannot hear
her ottener!
Before this letter is published we shall
have heard the long looked for German
opera. 1t will evidently be the musical
affair Of the season. 1t said that the ad-
vance sale of seats has been the largest ever
held at the Boston theatre. The fact of this
tremendous interest in Wagner's music may
be partly attributed to the numerous lee
lures that have been given here during the
past six weeks. OF these lectures Walter
Damrosch gave perhaps the most unique and
enjoyable course in Chickering Hall. 1t was
NJ any rate the most fashionable. Back Bay
turned out in all its glory to attend. Mr..
Damrosch has the unusual power of play
ing the piano delightfully."- while he talks.
Thus he illustrated the music of the "Ring
of the Meetings." while he described the
plct or rendered into most poetical English
the German text
This music-drama is divided into four
parts: "Die Rheingold," "Die Valkyr,"
'Seigfreid" and the Gotterdalnmerung.
"Rheingold" is the prelude to the rest 1t
has been presented in America less often
than the others Of the series and for the
benefit of those who have never heard it /
viii briefly sketch the plot.
We have then, in "Die Rheingold" three
races struggling for supremacy. In the
celestial regions dwell the gods of whom
Wotan Is the father and ruler. Beneath the
earth is mother Erda "all-sustaining, all
nourishing, the giver Of life and DEATH"
With her are her three daughters, the
Fates, who continually weave the thread
of life. Huge, stupid giants inhabit the
forests, hey represent brute force. In
Nibelheim live cunning, treacherous night
elves or dwarfs. They dig and delve in the
bowels of the earth for treasure which they
forge into weapons for the gods and heroes.
The musical prelude to the drama is
theme, maryellously developed from single
chord, with flowing accompaniment de-
scriptive of the movement of a mighty river;
sometimes gliding smoothly onward, again
rushing stormily toward the sea.
The curtain arises upon charming scene
In the Rhine. Three mermaids. the Rhine
daughters are seen swimming in its depths.
The melody changes into rythmic express
sion Of the graceful, waving motion with
which they make their way through the
water, singing in liquid consonents:
Weial Wagai Woge du welle,
Vale Eur WIegel Wagala weia!
Wallalq Wafla wei NJ