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Updated: May 24, 2025
The objects in this apartment were really beautiful. The tapestry on the walls represented a series of pictures taken from romances of knighthood, and from marvellous legends: Tristan and Isolde, on the deck of a ship; Flor and Blancheflor, in a garden of roses; the monk Alberich, in a Dominican habit, descending into hell.
Brangaene drags together the curtains, shutting from sight the cruel rabble. Isolde, who has with difficulty controlled herself, seems on the point of an outburst, but she quells it, and in the restored silence asks with forced composure: "But now, about Tristan? I wish to be told exactly." Brangaene, at first unwilling, reports the interview.
In Handel's operas the phrases were repeated so many times that the singer was excused if he proclaimed the meaning of the line once. After that he could alter the vowels and consonants to suit his vocal convenience. Monna Vanna and Tristan und Isolde exact of their interpreters acting of the highest poetic and imaginative scope....
Brangaene's entreaties are vain; again she cannot feel what Isolde feels notice the difference between her melody and the soaring freedom of Isolde's. At last she seizes the torch and hurls it to the ground to a terrific downward rush of the strings and the yell of the death-motive in the trumpets, the entire orchestra with drums being heard together for the first time.
Half of her clearly has gone with Tristan, the rest is near taking wing, according to her word: "Where Tristan's house and home, there will Isolde abide." Her own swan-song takes us a little way with her into her Liebes-tod, her love-death. Her eyes, fixed in contemplation of his face, have the vision of it returning to life.
But Tristan and Isolde can be grasped through the eye by the dullest. A Woman is seen expressing great anger; there is a scene of coldness and incrimination between her and a Man. They drink from a golden cup and are from that moment lovers. They talk lengthily and most mellifluously of love in a garden at night. They are surprised by one with an evident right to be incensed. The lover is wounded.
The roles of Tristan and Isolde were in the hands of Ludwig Schnorr von Carolsfeld and his wife. Albert Niemann was prevented by the failure of the Strasburg plan from being the first representative of the hero, but to him fell the honor of setting the model for all American representations.
A moment of bewilderment, and the fated ones are in each other's arms, pouring out an ecstasy of passion. Then her maids robe Isolde to receive the king, who is coming on board the ship to greet his bride. In the introduction to the second act, based upon this restless phrase, we have a picture of the longing and impatience of the lovers before a meeting.
In the meanwhile I completed the libretto of Tristan und Isolde, and at the same time Hans made me a fair copy of each act. I read it over, act by act, to my two friends, until at last I was able to get them all together for a private reading, which made a deep impression on the few intimate friends who composed the audience.
For us, too, there occurred the moments when Siegfried's cavernous forest depths first breathed on us, when for the first time "Die Meistersinger" flaunted above the heads of all the world the gonfalon of art, when for the first time we embarked upon the shoreless golden sea of "Tristan und Isolde." For us, too, the name of Richard Wagner rang and sounded above all other musical names.
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