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"Tristan und Isolde," an opera in three acts, words by the composer, was first produced at Munich, June 10, 1865, under the direction of Hans von Bülow, with the following cast of characters: TRISTAN Herr LUDWIG SCHNORR VON CAROLSFELD. KURWENAL Herr MITTERWURZER. KING MARK Herr ZOTTMAYER. ISOLDE Mme. SCHNORR VON CAROLSFELD. BRANGOENA Mlle.
Materna, Malten, Brandt, Tichatschek, Schnorr von Carolsfeld, Niemann, Vogl, Winkelmann, Betz, Scaria, Reichmann, and many others have had the benefit of his advice; and if Wagner could have carried out his plans of establishing a college of dramatic singing at Bayreuth a plan which was frustrated by the lack of funds the cause of dramatic art would have gained immeasurably.
For the present, seeing that I was staying without any object in an expensive Viennese hotel, I did my utmost to secure a chance of performing Tristan. First I turned to Tichatschek in Dresden, but obtained no promise from him. I then had recourse to Schnorr, with a similar result, and I was at last obliged to acknowledge that my affairs were in a bad way.
In my first experience I had suffered nothing worse than an embarrassing half hour, so, with more confidence I pressed the bell the second evening, at the apartment of Frau Augusta, daughter of Gustave Schnorr, Authority on Synthetic Nicotine. Frau Augusta was a woman of thirty-five. She was well-preserved, more handsome and less coldly inhuman than the younger woman.
In the following winter, our circle, thanks to the assiduity of Hiller, was considerably widened, and it now became a sort of club whose object was to meet freely every week in a room at Engel's restaurant at the Postplatz. Just about this time the famous J. Schnorr of Munich was appointed director of the museums in Dresden, and we entertained him at a banquet.
The fact is that no one can read his essays, especially those on Schnorr von Carolsfeld, and on Actors and Vocalists, without being impressed with his unbounded admiration for the voice, and his practical knowledge of its highest functions and correct use. As a vocal teacher, Wagner has perhaps never had an equal.
But if you want to be thoroughly mixed up on the Nibelungenlied, after you think you have got those depraved old parties with their iniquitous marriages and loose morals pretty well adjusted by a faithful attendance at Walter Damrosch's lectures and Wagner operas, just go through the Königsbau, and let one of those automatic conductors in uniform take you through the Schnorr Nibelungen Frescoes, and from personal experience I will guarantee that, when you have completed the rounds, you won't even know who Siegfried is.
The entrance halls are decorated with paintings of the Argonauts and illustrations of the Hymns of Hesiod, after drawings by Schwanthaler. Then came the Service Hall, containing frescoes illustrating Homer, by Schnorr, and the Throne Hall, with Schwanthaler's bas-reliefs of the songs of Pindar, on a ground of gold. The throne stands under a splendid crimson canopy.
I undertook to stay another day, so as to avail myself of an invitation to lunch with Schnorr and his wife. As by this lengthy stay in Karlsruhe I knew my presence would become known to the Grand Duke, I took advantage on the following day to inform him of my arrival, and he made an appointment to meet me in the afternoon.
In the German and Norse poems, as we possess them now, myth and apparently historical facts are inextricably welded together. A powerful representation of the Siegfried tale is given in the series of large pictures, at Munich, by the distinguished painter Schnorr von Karolsfeld. By Rev.
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