Now, in the last act an entirely different mechanism is employed, although the change is not perceptible to the audience. In this case it is not necessary for the swan to take a sinuous course, and it proceeds in a straight line across the stage. In this arrangement a truck is mounted on four wheels and is pushed by the men; but in order to transform the swan into Elsa’s brother, it is necessary to resort to an entirely different system. The swan, instead of being supported by a couple of rods, is supported on a parallel which is hinged; it is normally held in position by means of cords, so that it shows above the set rows and the bank of the river. When the time has arrived for the transformation to be made, a man at the rear of the truck lets go of the cords which hold the swan in position; the parallel immediately drops, and is drawn back into the truck, carrying the swan with it. At the same instant Elsa’s brother is raised by a trap which places him in precisely the same position as that occupied by the swan. Then a clockwork dove descends on a wire, and as the dove drops behind the set piece it takes the place of the swan. Lohengrin steps into the boat, and the dove carries it off from the stage. The changes are so remarkable that the Lohengrin swan must be regarded as one of the most successful effects obtained in Grand Opera.
THE FLOATING RHINE DAUGHTERS IN “RHEINGOLD.”
When the curtain rises on the opera of “Rheingold,” which is the prelude to the music drama of the “Ring of the Nibelung,” the scene represents the bed of the Rhine. In the center rises a high rock which supports the “Rheingold,” a great nugget of gold that glimmers on the summit of the rock. The three Rhine daughters, Woglinda, Wellgunda, Flosshilda, suddenly appear upon the scene, swimming with graceful movements about the rock which supports the Rheingold. It may be asked how it is possible for the Rhine daughters to float in space while they sing. A reference to our engraving will explain the mystery.
Each of the singers is supported upon a cradle which is secured to a four-wheeled car by an upright post strongly braced. Each of the cars is pushed around by two attendants, while a third sits in front and steers. They are hidden from view by low scenes which effectually conceal them. We believe that in some opera houses regular tracks have been provided upon which to run them.
THE FLOATING RHINE DAUGHTERS IN THE OPERA “RHEINGOLD.”
At the Metropolitan Opera House, during the German opera season of Mr. Damrosch, in the spring of 1897, an entirely different device was used. The Rhine daughters were suspended from steel cables by means of trolleys. They were drawn back and forth by means of wire ropes which ran to the sides of the stage. Ropes were also run down to the level of the stage, and they were swayed back and forth by men who were hidden from view of the audience by the set rows which masked the lower part of the stage. The arrangement was considered to be very satisfactory.