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Such blemishes are no doubt to be regretted, but they are a hundred times atoned for by the passion and the variety of emotional expression that animate their voices, and by their superb acting. Fräulein Brandt's Ortrud, Eglantine, and Fides will be referred to generations hence as models, as will Herr Niemann's Tannhäuser, Siegmund, Cortez, Lohengrin, Tristan, etc.
Write to me at once, by return of post, from what quarter and when the prohibition of the "Tannhauser" performance was issued, and send me the letter of the Prague manager, so that I may be able to explain the matter properly. Apart from this, I can knock at another door in Prague. But, before all, I must be more accurately informed of the actual state of things. Your WEYMAR, February 20th, 1853
With the simpler "melody" went the harmony complicated as you like when the occasion called, but never more complicated than the occasion warranted. Compare with the war-chorus and march in Rienzi the march in the second act of Tannhäuser, and the difference will be seen. This march, by the way, ought to have been signed "after C.M. von Weber."
The creator of Lohengrin and Tannhäuser was quite justified in believing that he ought to be supported, and it may be that the respect we pay to the artists who starve it out is only a complacent way of saying how pleased we are that no one asks us to put our hands in our pockets. Nevertheless !
At last the first concert took place on the 25th of January ; all the pieces which I had chosen from my various operas, including Tristan und Isolde, met with an entirely favourable, nay enthusiastic, reception from the public, and I even had the experience of one of my pieces, the march from Tannhauser, being interrupted by storms of applause.
Would he find and help her in her greatest need, like Lohengrin? Would he only love her and sing a song for her, like Walter? Or would it be for her to help and to save him, like Vanderdecken? Surely not like Tannhäuser. No, no answer. I stirred the ashes. Underneath there was still a bright, ruddy, friendly glow, but nothing more.
As his spirit passes away his pilgrim's staff miraculously bursts out into leaf and blossom, showing that his sins have been forgiven. The overture to the opera is well known by its frequent performances as a concert number. It begins with the pilgrim's song, which, as it dies away, is succeeded by the seductive spells of the Venusberg and the voices of the sirens calling to Tannhäuser.
That pale, mystic Elizabeth of Tannhäuser had been taken in Milan; that ideal, romantic Elsa of Lohengrin, in Munich; here was a wide-eyed, bourgeois Eva from die Meistersinger, photographed in Vienna; there a proud arrogant Brunhilde, with hostile, flashing eyes, that bore the imprint of St. Petersburg.
Driven away by bad weather, we returned to Munich, quietly witnessed the festivities, and saw our friend Kaulbach every day. Lachner told me that he had had some correspondence with you about an early performance of Rienzi. "Tannhauser" I heard again at Munich, but "Lohengrin" had to be postponed owing to the sudden indisposition of Herr Lindemann.
standing for Vanderdecken, the curse laid on him, and the whole idea of the phantom ship; the second for Senta. They are short and clean-cut; they recur when wanted, and are subjected to little modification. There is not a single theme of this description in Tannhäuser. The first act is perfectly easy to follow. There are no leit-motifs.
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