BAYREUTH AND THE FIRST FESTIVAL
AMALIA MATERNA
Famous dramatic soprano who created the role of Brünnhilde in the original performance at Bayreuth
MAX ALVARY
Popular tenor who created the role of Siegfried in America in 1887 and sang it at the 100th American performance in New York, in 1895
The inhabitants of Munich have had reason to regret their action in opposing the plans of their king and Wagner. Since Wagner’s death in 1883 a score or more of festivals have been held at Bayreuth, bringing millions of profit to that Bavarian town, all of which the Munichers might have had. Bayreuth was chosen partly because it was within the realm of Wagner’s royal friend, partly because of its picturesque surroundings, and partly because of its seclusion. Special inducements had been offered him to build the Nibelung Theater at the famous summer resort, Baden-Baden; but he did not wish to produce his great and revolutionary work before audiences of mere pleasure-seekers. He had spent a quarter of a century in creating an entirely new German artwork, free from all foreign elements and operatic fripperies, and he wanted to submit it to serious music lovers, who would be sufficiently interested to take a trip to remote Bayreuth.
Edison, the wizard inventor, who never spared himself in work, said not long ago that genius was one per cent inspiration and ninety-nine per cent perspiration.
Wagner’s “Ring” is certainly a miracle of inspiration; yet when one reads of how much hard work he bestowed on its production after the infinite pains he had taken in creating it, one feels tempted to say that Edison did not exaggerate. Monumental proof of Wagner’s indefatigable industry is afforded by two volumes, one containing his business letters, the other his letters to the artists during the preparations for the Bayreuth festivals of 1876 and 1882, over both of which he presided personally. He spent a whole summer visiting all the German opera houses and picking out the artists most suitable for each of the forty-nine solo parts in the “Ring.” With most of these he corresponded personally, and also went over their parts with them before the rehearsals on the stage. The orchestra was made up with the same attention to individual merit; while the scenic features were genuine works of art.
The Nibelung Festival of 1876 was a most important event in the history of music. Among those who attended it were two emperors (William I of Germany and Don Pedro of Brazil), King Ludwig II, the grand dukes of Weimar, Baden, and Mecklenburg, together with many other representatives of the European aristocracy; while among those who represented the musical nobility were Liszt, Grieg, and Saint Saëns. On all these, as on the ordinary mortals assembled, the “Ring” made an indelible impression.
THE PASSING OF SIEGFRIED. From the painting by Hermann Hendrich