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Updated: September 11, 2025
As Ortrud was ill, "Lohengrin" could not be given this week. Frau Moritz is a very amiable and excellent woman and artist. She is studying Elsa and Senta, and is quite determined to make active propaganda for your operas. Moritz is going to read your "Ring of the Nibelung" this month at Wiesbaden. When I go to Carlsruhe, I shall again visit Moritz at Wiesbaden.
Instantly the weird ship is under way and amid the cavernous Yohohoes of its seamen making for the open sea. Senta struggles to follow. Her father, Erik, her nurse, all forcibly hold her back. But she is suddenly stronger than them all. She tears herself free and rushing from them climbs a rock projecting into the deep water.
Besides, in the ancient legend, as in Wagner's book, the Almighty has little to do with the matter: it is the foul fiend who snaps up Vanderdecken in his momentary lapse. Again, after the first act Vanderdecken is second to Senta.
Where shall you find her who will be your own true and loyal love until death?" With an air of illumination, Senta starts to her feet and finishes the song with words which rise inspired to her lips: "Let me be that woman! My truth shall work your deliverance! God's angel guide you to me! Through me you shall reach salvation!"
These parts were the ballad of Senta, the song of the Norwegian sailors, and the 'Spectre Song' of the crew of the Fliegender Hollander. Since that time I had been so violently torn away from the music that, when the piano arrived at my rustic retreat, I did not dare to touch it for a whole day.
I had to confess that which often astonished me: this infatuation for an insipid nobody was very much to the advantage of my Senta. Her courage under this intense strain was so great that, as time pressed, she consented to have the general rehearsal on the very day of the first performance, and a delay which would have been greatly to my disadvantage was thus avoided.
That monotonous drowsy hum of the Spinning song is exactly what is needed to put one in the mood for sympathising with Senta and her dreams. With the third there is an occasional return to the bad stagecraft of Scribe; but there are also hints of the simple directness of the later Wagner.
Daland and Vanderdecken enter, and the drama begins to approach its climax. The spinning chorus is pretty; but nothing in the act nor, in fact, in the whole opera matches the glorious passage where Senta takes her fate in both hands and avows her resolution to follow the Dutchman to death or whatever else may befall. The essence of the last act may be given in a few words.
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.
Senta confessed to him, read him love letters, wrote him dashing, penitent little notes, and Jim scolded her in a brotherly way, laughed at her, and sometimes delighted her by forbidding her to do this or that, or by masterfully flinging some cherished note or photograph of hers into the fire.
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