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The believers in the angel naturally welcomed the development in Lady Holme and the unbelievers laughed at it, especially those who had been at Arkell House and those who had been influenced by Pimpernel Schley's clever imitation. One night at the opera, when Tannhauser was being given, Mr. Bry said of it, "I seem to hear the voice of Venus raised in the prayer of Elizabeth." Mrs.
All I want him to do now is to acknowledge in a few words that he perfectly understands my difficult position with regard to "Tannhauser" at Berlin, and that he undertakes the performance with the desire of conquering that difficult position. The whole subject of honoraria I leave to him.
When he looked into the case, he found that the fellow was not eating anything, that he was ill from homesickness. He was one of those farmer boys who are afraid of town. The giant baby of a long family, he had never slept away from home a night in his life before he enlisted. Corporal Tannhauser, along with four others, was buried at sunrise.
The type of tune is the same, but the first is commonplace and not quite worthy of the situation in which it occurs; the second has a glorious, though dignified, swing, and thoroughly expresses the words of welcome which Wolfram addresses to the errant Tannhäuser.
Tannhäuser makes his appearance. A long declamatory dialogue ensues between himself and Wolfram, in which he recites the story of his pilgrimage. The scene is one of extraordinary power, and calls for the highest vocal and dramatic qualities in order to make it effective. From this point on, the tragedy hastens.
In the meantime I think it advisable that you should write a friendly letter to St., asking him in what manner Tannhauser has been prohibited at Prague, and to whom one would have to apply in order to get rid of this difficulty.
For instance, I had won the special favour of Mlle. Eberty, Meyerbeer's elderly niece. She had been an almost rabid partisan of my cause during the painful episode of the Tannhauser performances, and now seemed earnestly desirous of doing something to brighten my cheerless situation.
Listen to me: "Tannhauser" and "Lohengrin" I have thrown to the winds; I do not want to know any more of them. When I gave them over to theatrical jobbery, I cast them out, I condemned them to the task of begging for me, of getting me money, NOTHING BUT MONEY. Even for that purpose I should not like to employ them if I were not compelled to do so.
Yesterday I heard from my niece at Berlin that "Tannhauser" there could not be thought of for the present, because the "Feensee" and Flotow's "Indra" had first to be given. This has eased my heart, and by Hulsen's fault I have been released from all previous concessions. Now, dearest friend, comes the principal thing.
There are texts in the prefatory excerpt for a discussion of "Tannhauser" from all the points of view which might make such a discussion interesting and profitable. There is no doubt in my mind that it is the poet-composer's noblest tragedy and, from a literary point of view, his most artistic.
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