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Perhaps we shall find, in the course of next season, an Ortrud whom I should like a little younger than Frau X. From Hanover I have been asked to get the original score of the "Flying Dutchman" for Capellmeister Fischer there, who is recommended to me on good authority as a sincere and energetic admirer of your works.
By your means he came travelling to me, you smiled upon his voyage, on his way over the wild waves you kept him safe. Full many a time have I troubled you to dry my tears. I ask you now of your kindness to cool my cheek aglow with love!" Ortrud has kept basilisk eyes fixed upon the sweet love-flushed face touched with moonlight.
Ortrud recognizes the chain around its neck and gloats over her triumph; but Lohengrin hears her shout. He sinks on his knees in silent prayer. As he rises, a white dove floats downward toward the boat. Lohengrin detaches the chain from the neck of the swan. The bird disappears, and in its place stands Gottfried, released from the spell put upon him by the sorceress.
Joking apart, the Emperor of Brazil has invited me to come to him at Rio Janeiro, where I am to have plenty of everything. Therefore if not at Weymar, then at Rio. Why do I hear so much about Frau X.? I did not specially recommend her for Ortrud.
It is not possible to explain why, but, such being the case, it is not surprising that she soon wormed herself into the confidence of the old woman, to such an extent, that the latter was ere long tempted to make her more or less of a confidant. One day, about a week after the arrival of our heroine in the camp, old Ortrud asked her how she would like to live always in the green woods.
But before Elsa has had time to set foot upon the Minster steps, Ortrud dashes forward and claims precedence, taunting the hapless bride with ignorance of her bridegroom's name and rank. Elsa has scarcely time to reply in passionate vindication of her love, when the King and Lohengrin approach from the Pallas, the quarters of the knights.
Most magnificent is the descending chromatic passage that accompanies Ortrud as she casts her spell again over Frederick. It resembles closely an Erda theme of the Ring as is quite natural, for one chromatic scale cannot but resemble another.
Then there is Elsa's dream, the magical music of Lohengrin's tale, the music of the Bridal procession in the second act, the great and tender melody first sung by Elsa and Ortrud, and then repeated by the orchestra as Ortrud allows Elsa to lead her into the house, the whole of the Bridal-chamber duet, and perhaps, above all, Lohengrin's farewell.
In order to produce this feeling very distinctly and tangibly, I invented the following dramatic point: Elsa is led by Lohengrin up the steps on the minster; on the topmost step she looks downwards with timid apprehension; her eye involuntarily seeks Frederick, of whom she is still thinking; at that moment her glance falls on Ortrud, who stands below, and raises her hand in a threatening manner.
Frau X. did not come up to the mark, and Frau Knopp, our former Ortrud, was much more equal to the part. Frau X. had studied it conscientiously, but neither her voice nor her enunciation are particularly adapted to the style. The middle register decidedly lacks strength and fulness, and the declamation moves in prosaic theatrical grooves, without individual and deeper pathos.
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