The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1904-04-05

Inc legend of the Holy. Grail appealed
TO the poetic temperament of Richard
Wagner so powerfully that he wrote two
music dramas under it's inspiration The
first of these was the work of his youth
and won him his first recognition, the
other was the last complete work he
wrote. "Lohengrin,' the success of his
youth, and ''Parsifal," the loved child of
his old age-between these two is en-
braced the active career Of the man who
revolutionized grand opera and overturned
the very foundations Of musical thought.
It is true that 'Tannhauser" was writ
ten before "Lohengrin,' altho it's success
came after. But the picturesque and
was told by Wagner more in his own man
ner. In the earlier composition he had
not shaken off the shackles of conven-
ton. He had not yet departed from the
beaten path wherein his great predeces-
sors had trod and set his feet in those un-
| tried ways which were destined to yield
| such mighty results.
| In the breadth and beauty Of 'Iohen-
| grim, however, in the mastery treat
ment Of the Grail motive, running like a
shining thread thru it's music, in the
| soul-moving climaxes SO powerfully con-
| triVed, in the picturesque quality of the
score rejecting so admirably the course of
| dramatic events-in these and other re-
spects the work is prophetic Of what Wag
ner was to do. On the other hand, the
| influence Of mystic symbolism had not yet
been laid on him so heavily as to make
his meaning obscure. 'Lohengrin'' is al
ways ineligible, always clear. Even the
unframed ear may drink in it's pure melo-
dies and find delight in it's harmonies of
surprising sweetness. Herein lies the rea-
4 son for the steady popularity of the work.
Lacking the elusive beauties and evanes-
cent charms of his later works that evade
4 the understanding while. Turing one on, 1t
/ exhibits the ardor, the passion, the purity
/ of youth. .
i A fitting bill does 'Iohengrin" thus be-
come for the opening of the grand opera
/ season. And ittingly was II presented last
& opera house by Henry w. Savage's fine
company Of artists. The conditions re-
quisite for a satisfying production were al
present-singers who possessed in addition
to fine voices the dramatic instinct so nee
essary in Wagnerian music-drama; {
we'll balanced, well-trained chorus of i'm
| pressive tonal quality; an augmented or
chestra held under the control of a bato1
that combined precision with tempera
ment; an investiture of sufficient mag
! nificence to satisfy the Imagination;
: brilliant and appreciative audience to Civ
: the inspiration to vitalize the whole.
Mr.. Wegener was the Lohengrin las
I night and presented a conception of tn
dazzling white knight that was both pic
turesque and poetic. His nobly classi
face, his gentle dignity Of demeanor, hi
t commanding knightly figure and his pur
q and melodious tenor were all items in tn
!, portrait. From his first appearance j.
7 the sWan-drawn pinnace to his final sor
roWful farewell, he seemed the perfec
a knight. In the marvellous love scene of tn
e third act, where his tender evasion Of tn
questions of Elsa finally dissolves in re
20 gretful recognition of fate's decree, tn
Y human quality is predominant. But in hi
J, first championship Of Elsa, as well as i
il the denouement when Lohengrin disclose
: proudly but sorrowfully his identity, tn
: character is godlil<e. These shades
n feeling Mr.. Wegener depicted masterfull.
His singing, fine as it was, he used as
], means of expression merely, everythin
, being subordinated to the dramatic pull
~ pose.
N Miss Rennyson presents an Elsa
E. appellant interest albeit along CONVEX
IS tional lines. The purity and helplessne:
IS Of the accused maiden, the reverent 10y
It that springs up In her heart for her Wont
rous champion, the nuptial joy that pc!
= sesses her, the growth of doubts insidiou.
~ ly planted in her mind, the wan despa
- that finally envelopes her as she sees h
~ knight forced by her own folly to depart
y these successive emotions of Elsa are d
re noted by Miss Rennyson clearly and pi
is torially. Her voice has lost none Of i
at purity and sweetness, but, as heretofo1
lacks something in rich color. Nor do
she sing with as great ease as Of yol
ne Her voice, and indeed several Of the OF
On ers, seems overworked.
il Miss well was the Ortrud and her Ike
dramatic sense is powerfully stirred by t
~ malevolence Of the characterize much
N. that at times her by-play Is if anythi