The sun. [volume] (New York [N.Y.]) 1833-1916, 1893-09-10

VII.
The thirty months spent by Wagner in Paris
| although they were months OF extreme hard
ship and privation. were by no means wasted
| They cured him OF his temporary relish for the
| operate tricks OF Donizetti and the contem.
| porary representatives OF tho Italian and
| French school and made him return to his first
| love- the ideal OF Weber and Beethoven. They
cured him forever OF the desire to win success
by writing down to the popular taste: he never
again stopped to conquer 1t was during this
sojourn in the French capital that he discov-
cred why the German singers had seemed
tunClers. namely. because they had been
asked to sing italian colorature arias unsuited
for German throats. Give them he said. Ger
man vocal music to sing and you will find
these bunglers transformed into the trusst
artists, an assertion that was to be made good
by Niemann. Materua and others. who have
created a new art OF realistic dramatic song.
The most I'm portant result. however OF Wag-
ners first visit to Paris was that notwi hstand-
ing endless petty Interruptions and harras-
sing cares he found time to finish Rienzi."
and compose the whole Of THE Flying Dutch
man." With these operas he returned. in
1892. to Germany. where In October Rienzi"
was to be performed at Dresden. while The
Flying Dutchman" had been accepted at the
Court Theatre in Berlin.
1t was good augury for Wagner that the
new opera house at Dresden had been opened
with Webers "Euryanthe." the true root OF
Wagners music dramas Moreover tho Dresden
authorities had sense enough to understand
that man capable OF composing grand opera
ought to know best how 1t should be perform cd.
His advice was not repealed. but sought for
and the change in his situation was ace elerated
by the fact that the singers grew moro and
more enthusiastic as they became more
familiar with tho score. AS their enthusiasm
soon became n matter Of general gossip ex-
pectations regarding the new opera we're raised
to an unusually high pitch. Nor were they
disappointed: the success Of "Rienzi" was so
pronounced that Wagner. at one leap became
the hero Of the hour. The impression made
on the audience by the hitherto unknown
composer may best be inferred from the fact
that he was not only called before the curtain
several times. but that the audience rem aimed
to the end Of the opera. This may seem a
dubious compliment. but the truth is that
- Rienzi.' Mt Its first performance. lastel no
less than six hours. from q In the evening Ii II
close upon midnight. The fourth act did not
begin till 10 o'clock. n time when the old
fashioned Germans OF the period verb accus-
toned to seek their beds. Wagner him self in
spite OF his triumph. was horrfed ut the
unheard-of length OF his opera. and carly the
next morning fastened to tho theatre
to cut down his work. But
the singers would not tolerate any cuts.
and to obviate the necessity OF nu-
tilating the score the opera was divided
into two sections and given on two consecu-
tive nights Berlioz was among those who
heard 1t In this form. Later On the opera was
reduced to five and one halt hours and again |
given on one evening, always to full houses.
Wagners name was made but how about his |
income? There was a rumor that he had re- !
,eived 1000 thaler for Rienzi." but the |
ruth was that, after the third performance.
he Intendant sent him asnattering letter. en-