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

Inc legend of the Holy Grail appealed
70 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 its success
came after But the picturesque and
poetical story Of the knight Of the swan
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 ''Lohen-
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. "Iohengrin'' 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-
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, it
exhibits the ardor, the passion, the purity
of youth.
i A fitting bill does .'Lohengrin'' thus be-
| come for the opening of the grand opera
season. And fittingly was it presented last
| opera house by Henry W. Savage's fine
company Of artists. The conditions re-
quisite for satisfying production were all
present-singers who possessed in addition
to fine voices the dramatic instinct SO nee
essary in Wagnerian music-drama; q
el-balanced, well-traned chorus Of i'm
pressive tona1 quality; an augmented or
chestra held under the control of a bator
that combined precision with tempera-
ment; an investiture Of sufficient mag
nifcence to satisfy the imagination; g
brilliant and appreciative audience to give
the inspiration to vitalize the whole.
! Mr.. Wegener was the Lohengrin last
night and presented a conception of the
. dazzling white knight that was both pic
turesque and poetic. His nobly classic
, face, his gentle dignity Of demeanor, hi:
commanding knightly figure and his pure
l and melodious tenor were all items in thu
portrait. From his first appearance il
the swan-drawn pinnace to his final sor
, rowful farewell, he seemed the perfec
knight In the marvellous love scene of thu
! third act, where his tender evasion Of tn
questions of Elsa finally dissolves in re
gretful recognition Of fate's decree, tn
, human quality is predominant. But in hi
, first championship Of Elsa, as well as il
| the denouement when Lohengrin disclose
: proudly but sorrowfully his identity, tn
: character is gOdllSe. These shades Q
, feeling Mr.. Wegener depicted masterfuly
His singing, fine as it was, he used as
means Of expression merely, everythin
being subordinated to the dramatic pur
y pose.
n Miss Rennyson presents an Elsa G
s tional lines. The purity and helplessnes
$ Of the accused maiden, the reverent low
t that springs up in her heart for her wond
rous champion, the nuptial joy that pos
! sesses her, the growth Of doubts insidious
- ly planted in her mind, the wan despai
. that finally envelopes her as she sees he
y knight forced by her own folly to depart
y these successive emotions of Elsa are de
{ noted by Miss Rennyson clearly and pic
s torially. Her voice has lost none of II
1t purity and sweetness, but, as heretofore
lacks something in rich color. Nor doe
she sing with as great ease as of yor
e Her voice, and indeed several Of the 9th
n ers, seems overworked.
l. Miss well was the Ortrud and her kee
dramatic sense is powerfully stirred by tt
:. that at times her by-play Is If anythin