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Updated: August 27, 2024
There is the struggle once more with the sirens, and amid Wolfram's touching appeals and Tannhäuser's exclamations is heard the enticement of the Venus music. But at the name "Elizabeth" it dies away. The mists grow denser as the magic crew disappears, and through them is seen a light upon the Wartburg. The tolling of bells and the songs of mourners are heard as the cortége approaches.
Biterolf challenges him; the Venusberg music boils up once more we almost see the vision that is about to break on Tannhäuser's inner sight; he sings more passionately still the joys of a human love; Wolfram again contends, giving us this time a really glorious song, and the storm breaks: the Venusberg is before Tannhäuser's eyes; the violins sweep to their highest register, and remain there boiling and dancing in a kind of divine fury; and in mad exaltation he chants his hymn to Venus.
The chant comes wafted from the distance of those younger pilgrims gathering for departure: "At the great feast of peace and pardon, humbly confess your sins. Blessed is the firm in faith, he may be absolved through contrition and penance." A ray of hope illumines Tannhäuser's face. He starts up from his knees, and with a wild cry, "To Rome!" rushes forth from the Hall.
She pleads for him, and at last, the voice of pilgrims being heard in the distance, Tannhäuser's life is spared on condition that he joins them and goes to Rome to ask forgiveness. The curtain in the last act rises on the scene of the first, but where all was young and fresh, now the leaves are withered and the tints of autumn are everywhere.
Meanwhile, the pilgrims' song grew more strenuous, until at last the trombones proclaimed, in unconquerable tones, Tannhäuser's abjuration of sensual life, and at that moment the tall, spare figure of Mr. Hermann Goetze, the manager, appeared in the doorway leading to the stalls. He was with his apparitor and satellite, Mr.
The second act opens with Elisabeth's scena; then follow her duet with Tannhäuser, the march and chorus as the company troop in to hear the contest of minstrels, the various songs, Tannhäuser's fatal mistake, Elisabeth's intercession for him, the voices of the pilgrims setting out for Rome, and Tannhäuser's rush to overtake them.
The crozier which bursts into green in token of Tannhauser's forgiveness has prototypes in the lances which, when planted in the ground by Charlemagne's warriors, were transformed overnight into a leafy forest; in the javelins of Polydore, of which Virgil tells us in the "AEneid"; in the staff of St.
Certain portions of Tannhäuser, for example, can be listened to with pleasure simply as noble or beautiful music: the overture, Tannhäuser's Song to Venus, the Pilgrims' Marching Chorus, Wolfram's "O Star of Eve," Elisabeth's Prayer, and so on.
Wagner had as yet, it is true, but little conception of the importance which this flexible instrument would assume in his later works; but such passages as the orchestral introduction to the third act, and Tannhäuser's narration, give a foretaste of what the composer was afterwards to achieve by this means.
In Thuringia the rout headed by Frau Holda and the Wild Huntsman issues in the Yuletide from the cave in the Horselberg, which is the scene of Tannhauser's adventure with Venus in Wagner's opera, and Holda is the mother of many of the uncanny creatures which strike terror to the souls of the unlucky huntsmen who chance to espy them.
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