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Updated: June 9, 2025
This motive, one of the sweetest Wagner invented, is long, and less of the nature of a leit-motif as I have explained the leit-motif than a passage like the Venus music in Tannhäuser. Just as Senta's ballad of the Flying Dutchman is the germ of that opera, so this is the germ of Lohengrin.
"You leaving us, Rod?" "Yes, it's getting late. Conn and I are going for a little walk; we'll be at Senta's in half an hour. The fresh air will do both of us good and we have a lot to talk about. After all, we haven't seen each other for over five years." They were silent, however, until they were away from the Airport Building and walking along High Garden Terrace in the direction of the Mall.
There brilliancy is attained by huge choruses and vigorous orchestration and rhythms that continually verge on the vulgar. In the Dutchman it is the stuff and texture of the music that make the effect. Play Rienzi on a piano, and you have nothing; play the Dutchman, and you have immediately the roar of the sea, the Dutchman's loneliness and sadness, Senta's exaltation.
The only other possible one is that self-sacrifice is a worthy and beautiful thing in itself. In itself, I say, for Senta's self-sacrifice is purely a fad: she knows nothing of Vanderdecken save a rumour shaped into a primitive ballad. Such self-sacrifice is not worthy, not beautiful; but, on the contrary, a very ugly and detestable form of lunacy.
"You couldn't have done anything I'd have liked better, Mr. Fawzi. I'd have to have a meal at Senta's before really feeling that I'd come home." "Well, here's what I have in mind. It'll be three hours till dinner's ready. Suppose we all go up to my office in the meantime. It'll give the ladies a chance to go home and fix up for the party, and we can have a drink and a talk."
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