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No use is made of the leit-motif; only when Tannhäuser loses his wits and sings in praise of Venus do we get reminiscences of the Venusberg music. In the third act the structure is the same. Number flows into number, it is true, without full-closes without full-stops, so to speak; but those who have never before heard a note of Wagner can follow as easily as they could a Gluck or Mozart opera.
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