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Updated: May 24, 2025
At any rate here was a bug who seemed to ill-deserve his name, although if the Niblelungs could fashion the Rheingold, why could not a bug conceive a rainbow? Whenever a human, and especially a house-human thinks of bugs, she thinks unpleasantly and in superlatives.
Until recently, there were still many people who thought of Wagner as a youthful and eccentric enthusiast, all afire with misdirected genius, a mere carpet-knight on the sublime battle-field of art, a beginner just sowing his wild-oats in works like "Lohengrin," "Tristan and Iseult," or the "Rheingold."
"Tristan and Isolde" was commenced in 1857 and finished in 1859, during the period in which Wagner was engaged upon his colossal work, "The Ring of the Nibelung." As early as the middle of 1852 he had finished the four dramatic poems which comprise the cyclus of the latter, and during the next three years he finished the music to "Das Rheingold" and "Die Walküre."
Alexander Innit, and Miss Margot Rheingold as part-time nurses, canteeners, munitioners, flag-sellers, charity matinee programme sellers, tableaux vivants, and patronesses of the undying arts.
to the scarcely articulate agony of Hero when she sinks to the earth at her lover's sudden accusation, "O Heavens! how am I beset! What kind of catechising call you this?" I fancy you ask, rather sneeringly, as to our scenery and stage adjuncts. Once, in the great court theatre at Munich, I saw Wagner's Rheingold.
She made her début in 1866, at Prague, and ten years later sang the small rôles of the first Rhine maiden and the forest bird in "Rheingold" and "Siegfried," at the Bayreuth festival little fancying, perhaps, that she would twelve years later be the queen of German opera in America.
Musically it can hardly rank with its successors, partly no doubt because the plot has not their absorbing interest, partly also because 'Das Rheingold' is the first work in which Wagner consciously worked in accordance with his theory of guiding themes, and consequently he had not as yet gained that complete mastery of his elaborate material which he afterwards attained.
During this stirring time I was deeply moved and surprised to receive a present from an admirer in Dresden called Richard Weiland; it was an artistic silver ornament representing a sheet of music surrounded by a crown of laurels; upon the sheet were engraved the first bars from the principal themes of my various operas up to Rheingold and Tristan.
Some portion of the gold he returned to the merchant; the rest he dropped into an empty bag, which he tied to his belt. "I did not wait to see anything more, but came down to the foot of the stairs, that I might learn if Roland took his money to his dissolute comrades. He came out, and once more I followed him, and once more he led me to the Rheingold cellar.
During Praeger's visit, a former singer at the Magdeburg opera and her two daughters called on Wagner. They sang the music of the Rhine-daughters from "Rheingold." When they finished singing, Minna asked Praeger: "Is it really as beautiful as you say? It does not seem so to me, and I'm afraid it would not sound so to others."
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