St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1896-01-05

ruses, and yet the composer does not
lose sight Of his theories, for here we
observe as characteristic a use of mo-
tives and as skillful g. combination of
them as can be found in any of his
works. To thoroughly comprehend
the story it is necessary to understand
the conditions one has to fulfill be-
fore he could be a Mastersinger. First
of all he must master the "Tabulatur,
which included the rules and prohibi-
lions. Then he must have the requi-
site acquaintance with the various
methods of rhyming verse and with
the manner of fitting appropriate mu-
sic to it. One who had partially mas
tered the "Tabulatur" was termed
scholar" the one who had thorough
ly learned it, a 'schoolman;" the one
who could improvise verse, a poet"
and the one who could set music to
his verses, a 'mastersinger." In the
test there were thirty-three faults to
be guarded against, and whenever the
marker had chalked up seven against
the candidate he was declared to have
oversung himself, and lost the coveted
honor.
The vorspiel is a vivid delineation of
medieval German life, full of festive
pomp, stirring action, glowing pas
sion, and exuberant humor. The first
act opens in the Church of ST RATHER
s,
chorale to organ accompaniment.
During the chorale and it's interludes a
quiet love scene is being enacted be-
tween Eva, daughter of a wealthy
goldsmith, Welt Pogner, and Walter
Won Stolzing, noble young knight
The attraction is mutual. Eva is ready
to become his bride, but it is necessary
that her husband should be master
singer. Rather than give up the hand
of the fair oh he
time is, determines to master the pre-
cepts and enter the lists. AS Eva and
her attendant, Magdalena, leave the
church, the apprentices enter to ar
range for the trial, among them David,
the friskiest Of them all, who is in love
with Magdalena. He volunteers to
give Walter some instructions, but they
do not avail much in the end, for the
lesson is sadly disturbed by the gibes
of the boys, in a scene full of musical
humor At last Pogner and Beckmes
ser, the marker, who is also competitor
for Evas hand, enter from the sacris-
ty. After long dialogue between them
the other masters enter, Hans Sachs, the
cobbler bard, coming in last. After
calling the roll, the ceremonies open
with a pompous address by Pogner, in
which he promises the hand of Eva,
with my gold and goods beside to
the successful singer on the morrow,
which is John the BaptiSt's day. After
a long parley among the gossiping
masters, Pogner introduces Walter as
a candidate for election. He sings a
charming song, and as he sings the
marker behind the screen is heard
scoring down the faults. When he dis
plays the slate it is found to be covered
with them. The masters declare him
outsupg and rejected, but Hans Sachs
befriends him, and demands he shall
have chance for the prize.
The second act discloses Pogner'S
house and Sachs shop. The appren-
tees are busy putting up the shutters,
and are singing as they work. Walter
meets Eva and plots an elopement with
her, but Sachs prevents them from car
rying out their rash plan. Meanwhile
Beckmesser makes his appearance with
his flute for the purpose of serenading
Eva and rehearsing the song he is to
sing for the prize on the morrow. AS
he is about to sing, Sachs breaks out
into a rollicking folk-Song, in which he
sings of mother Eva and the troubles
she had after she left Paradise, for
want Of shoes. At last he allows
Beckmesser a hearing, provided he will
permit him to mark the faults with his
hammer upon the shoe he is making.
The marker consents, and sings his
song. Den Tag Sch Ich ErScheinen,"
accompanied with eXcrucia ting rou-
ladies' of the old-fashioned conventional
sort; but Sachs knocks so often that
his shoe is finished long before Beck
messer's song. This is his first humili
alton. Before the act finishes he is
plunged into still further trouble, for
David suspects him of designs upon
Magdalena, and a general quarrel en-
sues.
The third act opens upon a peaceful
Sunday morning scene in the sleepy old
town, and shows us Sachs sitting in his
arm chair at the window, reading his
Bible, and now and then expressing his
hopes for Walters success, as the great
contest is soon to take place. At last
he leans back, and after a brief medi-
tation commences a characteristic song.
A long dialogue enSues between him
and Walter, and then as Eva, David,
Magdalena and Beckmesser success
lively enter, the scheme developes into
a magnificent quintet which is one of
the most charming numbers in the
opera. The situation then suddenly
Changes. The stage setting represents
an oGen meadow on the banks of the
Pegnitz. The river is crowded with
boats. The plain is vocered with tents
full of merryls,a kers. The different
guilds are continually arriving. A
livelier or more singing scene can
hardly be imagined THAI Wagner has
here pictured, with it's accompaniment
of choruses by the various hahdlcrafts-
men, their pompous marches, and the
rural strains of town pipers. AT last
the contest begins. BeckmeSser at
tempts to get through his song and dis
mally fails. Walter follows him with
the beautiful prize song, 'Morgenlicht
Leuchtend in Rosigem Schein." He
wins the day and the hand of Eva.
Exultant Sachs trolls out lusty lay,
and the stirring scene ends with the
acclamations of the people Hell
Sachs: He'll Nurnberg's theurem
Sachsr
TANNHAUSER.
Tannhauser oder der Saengerkrieg auf
der Wartburg, "TannhauSer or the
Singers Contest at the Wartburg," ro-
mantle opera in three acts, words and