Evening star. [volume] (Washington, D.C.) 1854-1972, 1940-11-17
BY ALICE EVERSMAN.

There were two things in which
Richard Wagner firmly believed
in his own genius and in his good
luck. He had need of both through
out his life, but particularly in the
launching of his opera Tam
hauser," the first of his great works
The trials and tribulations con-
nected with the presentation of this
opera would have discouraged any
man less sure of himself, but
Wagner never wavered in his faith
regarding its musical value or in
his determination that it should be
staged just as he wished it.
Wagner's destiny was foretold by
himself in a letter which Berlioz
wrote in 1855, in which he said: II
start for England on Friday
Wagner, who is directing the old
London Philharmonic, is buried be-
meath the vituperations of the whole
British press. He remains calm, fol
he says that in so years he will be
master OF the musical world"
No other artist has so truly pre-
dicted his own place in the future
or been so oblivious to reverses
while pursuing his way toward that
end He was a strange creature and
a difficult one, but had he faltered
for a moment in following the
dictates of his genius the world
would have been UNNECESSARILY the
loser. In the estimation of him as
a man much must be forgiven him
because of the individuality he
brought to his art.
Lived in Unreal World.
He had peculiar tendencies and
peculiar outlooks on life and music
which, in themselves, would make
him q stranger in ordinary society.
Highly imaginative, he lived in an
unreal world, loving mythology and
the legends of the old Germany OF
the Middle Ages. In his biography
he tells how in his youth for me
music was a spirit, a noble and
mystic monster and any attempt to
regulate it seemed to lower 1t in my
eyes" And again: II was en-
chained by a wondrous magic. The
baldest legend spoke to me of its
ancient home and soon my whole
imagination thrilled with images:
long lost forms for which I had
sought so eagerly shaped them
selves ever more and more clearly
into realities that lived again"
His interest in the old histories and
legends began with his discovery in
his youth Of the writings of Ernest
Theodor Hoffman,. These fantastic
tales as we'll as Grimm's German
Mythology" set his mind on fire. So,
when in his reading. which was one
of his greatest pastimes, he came
upon a pamphlet which told of THE
Minstrers War on the Wartburg,"
and the minstrel contest of 1907, he
was inspired to turn the story into
an opera.
First Wrote Poem.
He first wrote a poem and called It
Der Venusberg" and when this was
completed in his thirtieth year, he
set about writing the music. When
it was ready for production he was
urged by his agent to change the
name since the legend of the Venus
berg where young men; among them
Tannhauser. lost themselves in sem
sual pleasures, had become q source
of coarse jokes. Wagner was finally
persuaded and decided to use the
name of the hero while adding to 1t
the words ''und der Saengerkrieg auf
Wartburg."
The opera proved q difficult one to
write. When 1t was accepted for
production in Dresden, another angle
Of his genius flashed forth. He
busted himself with all the details
Of Its staging and rehearsing, order
ing specially designed scenery from
the best scenic painters Of Paris and
beautiful, authentic costumes. No
expense was spared.
The cast was q choice one. His
niece, Johanna, was the Elizabeth
and for Venus he had the great
artist and his personal friend,
Schroeder-Devrient, who had re-
manned an inspiration to him since
he first thrilled to her art as a young
man. Desiring to help him in every
respect, she was nonetheless doubt
full of the outcome, being conscious
of her physical lack Is . portrayer
of Venus and not quite sure Of how
to interpret the role. OF this part
she aid 70 Wagne1: you are Q man