The Birmingham age-herald., 1905-01-15
The Legend of "Tannhauser."


 It was in Paris. somewhere about 1s4l, that Richard Wagner came into posses sion of the German "Volksbuch," con- taining the Tannhauser legend, and real ized it's musical possibilities. As re- suit he studied the poems of Wolfram von Eschenbach and the Loherangrin." !" In 1S42 he wrote the first sketch of his now famous opera, but 1t was not com pleted and produced till 1S45.
 The story has for its motive the Ger man superstitious about heather deities which still fingered about the people in the early part of the thirteenth century. One of these concerned Holda, who lad been identified with Venus, but was looked upon as a wicked temptress in- habiting the interior of the mountains and turing victims to their eternal de- struction. A subterranean character of this nature was believed to exist in the Holsalberg mountain, near the Wartburg in Thuringia, which forms the romantic background to Wagner's opera.
 Act I discloses a vast grotto, in which Venus and Tannhauser are seen reclin- ing on a couch. His harp is by his side, and when aroused he expresses his long ing for the upper world, the azure sky and the sunlight. Despite the passionate pleading of the goddess he persists in his desire, and when at last he declares that mot on you, goddess of joy, rests my salvation, but on the Virgin Mary" a loud detonation is heard. Venus and the grotto vanish and Tannhauser finds himself in a beautiful green Valley be- fore the Wartburg.
 Seated among the rocks, a young shep- herd boy accompanies on his pipe the tinkling of the rills and songs of Holda, till he is interrupted by a chorus of pill grims on their way to Rome. The solemn chant Is first faintly heard in the distance, but swells stronger and stronger as the band approach and cross the stage. Tannhauser falls on his knees before the wayside shrine. his burden of sin weighs upon him, and he ardently desires to atone. As he prays to the accom- paniment of the church bells the sound of hunting horn breaks upon the ear. It Is the Landgrave of Thurtngia, with whom are the Minnesingers. They rec ognize Tannhauser and invite him to the contest at the Wartburg At first he resists but at the name of Elizabeth he yields and agrees to accompany them.
 The second act opens with the singing contest in the Wartburg. The minstrels are to sing of love. and Wolfram von Eschenbach opens with a song in the wonted manner Of the Minnesingers, ex-
 
 and self-sacrifice. Tannhauser objects, and, after an angry disputation bursts Into passionate song of praise, and de- 1, clares that no one knows love except him who has loved in the Venusberg. This elicits angry remonstrances and threats of violence, but Elizabeth inter- cedes and his life is spared on condition that he join the pilgrims then departing to seek absolution at Rome He rushes 4.4.. . him there Is higher love than that which he sang.
 ' In Rome Tannhauser appears before Pope Urban, but after listening to the story of the pilgrims simple life in Venusberg, the Pope refuses to pardon him, telling him that he could no more absolve him than the pastoral staff which he held in his hand could bud and blossom.
 | The third act shows again the valley | before Wartburg. Elizabeth is kneeling at the shrine in prayer when the chant of the returning pilgrims is again heard. | As they enter she scans them eagerly, but Tannhauser Is not there, and again she knees in prayer. Wolfram then sings a pathetic invocation to the even- l ing star, and as twilight deepens a | weary and tattered pilgrim enters. | Wolfram recognizes Tannhauser who is | seeking to return to the Venusherg and who at his request narrates the tale of his pilgrimage and the Pope's refusal to absolve him. Then the rock opens and | the goddess is seen reclining and beckon- | ing to Tannhauser. He moves toward her. but is arrested by chorus of maid ems singing funeral 0irge over the dead | Elizabeth. When he utters the divine name the vision of Venus disappears the bier is borne upon the stage. Tann- hauser casts himself upon the ground. | and as he utters the cry Saint Eliza beth, pray for me-" falls dead. band | of younger pilgrims then enter, bearing the Pope's staff, which had miraculously | budded. Tannhauser had been at last absolved from his sin, and the music drama closes with the sublime chant of the pardoned pilgrims.
 Such is the romantic story about which Wagner has thrown the inspiration of his own genius. It possesses a wealth of dramatic detail. The hero Is in turn bewildered, humiliated, and passes through all the gradations of remorse admiration, gratitude and dawning hope. Curiously enough, the recital by Tann- hauser' of his pilgrimage to Rome, now considered the most perfect number in the opera, was originally held by the critics to be the weakest. Filippo Fil- ipp, well known critic, says that the narrative is the most perfect piece in