The fact of the matter is, it would have been much better if Wagner had written the music-drama so that the dragon would have been killed off the stage. Having once been put into the opera, it was, of course, impossible to get along without the ugly beast, but the tendency is now to retire the dragon as far as possible to the rear of the stage. The dragon which we [illustrate] is the creation of Mr. Siedle, the property master of the Metropolitan Opera House. Fafner is, without doubt, the finest of his race. He gives one the idea of something half snake, half crocodile, and somewhat resembles some of the now extinct animals of bygone geological times. It cannot be said that the dragon is a thing of beauty, unless we can admit there is a beauty of ugliness. Fafner is supremely ugly, but, from a scientific point of view, it is doubtful if there are any properties connected with modern Grand Opera which are more interesting. The problem which presents itself to the property master in building the dragon is an interesting and difficult one. As the dragon must be arranged so that it can be worked by two men, who are inside it, it must be capable of considerable movement and must give the appearance of great size. In the present instance the head of the dragon was modeled in clay, and each line and horny scale and boss was the result of careful calculation. After the head was modeled, a plaster of paris mold was taken from it, and from this another plaster cast was made, upon which the actual head was built up out of papier maché. After the papier maché work was finished, it was painted dark green; different shades were, of course, used.
The body of the dragon is of cloth; the legs and feet are not attached to it, but are put on by the two men who operate the dragon. The feet and claws of the dragon are pulled on by combination overalls and boots. The man who takes the part of the fore feet wears a heavy belt with hooks on the side to carry the wires which furnish the current for the electric lamps in the eyes, and a rubber hose by which the dragon is enabled to breathe a sulphurous breath. A long lever of iron runs from Fafner’s head through his body, and by means of this the man who plays the hind legs moves the head up and down; the shoulders of the first man being the fulcrum. Independently of this, the man in the fore legs moves the upper jaw and the feelers. The painted cloth body might be likened to a camera bellows. The antennæ can be moved by means of cords, adding greatly to the terrible appearance of the monster. The enormous red tongue can also be moved by the first man, and the jaws are freely hinged. The eyes are set in what appear to be enormous saucers; they are covered over with painted silk. Behind this are incandescent lamps which are turned on and off fitfully by one of the stage hands behind the drop scene which represents the mouth of the cave. The wires run to the tail, as does also the steam pipe which furnishes the breath of the monster. The steam is allowed to escape from the mouth and through the nostrils. The tail consists of a number of sections of wood articulated by means of hinges. It is covered with painted cloth. When the first act is about over, the two men who are to act as the legs of the dragon get inside the body and are then elaborately fastened by the stage hands. They then waddle along to the opening of the cave, assisted by several of the stage hands, as the enormous body is very difficult to manage. One man works the steam while the other attends to the lighting of the eyes. After Siegfried kills the dragon, the stage hands go at once to extricate the two men from their uncomfortable position. The singer who takes the part of Fafner may be disposed in two ways; he may be either under the raised bridge upon which the monster stands, or he may be in the wings. In either case he sings through a speaking trumpet, which adds to the effect. The bird which is seen going across the stage and leading Siegfried to Brünnhilde is actuated by clockwork. When it starts, the clockwork is set in motion and makes the wings flap. Another bird, which appears to the audience to be the same, crosses the stage on wire from right to left, further back, and a third one is seen at the left, still further away. This one Siegfried follows to the rock of the Walküre, just as the curtain falls upon the wonderful scene.
WOTAN’S SPEAR.
The third act of “Siegfried” opens in a wild, rocky path at the foot of a high mountain. The scene is laid at night, and there is considerable thunder and lightning. Before the entrance to a cavern in the rock stands Wotan, who never appears as a greater bore than in this act of “Siegfried.” After a seemingly interminable conversation with Erda, she vanishes and Siegfried appears. After considerable conversation between Siegfried and Wotan, Siegfried advances to the latter, holding his sword, which has once before been shattered on the same shaft, in order that he may reach the summit of the mountain upon which Brünnhilde sleeps, protected by the sea of flames. Siegfried fights with Wotan and hews the spear in pieces. A fearful flash of thunder follows; flames and steam rise in front, and Siegfried’s horn is heard as he plunges into the fire. At length the fierce glow pales, the scene changes, and represents the summit of a rocky mountain peak, as in the third act of the Walküre, and Brünnhilde is seen in deep sleep.
The illusion is very clever indeed. Wotan’s spear, as shown in our [engraving], consists of a divided shaft, one part of which telescopes with the other for a few inches. The upper part of the spear is forced down over the lower, thus compressing a coiled spring. When the spring is compressed sufficiently, it is caught by a catch. Now, when Siegfried strikes the spear with his sword, Wotan presses a button which releases the upper part of the spear. The coiled spring is sufficiently strong to throw it off from the lower part. As the upper part rises, it lights matches secured by holders in the center of the lower part of the spear. A piece of sandpaper is secured to a little door which opens in the shell of the top part of the spear. As the sandpaper passes the matches, it lights them, setting fire to a small quantity of gun cotton, which lights flash paper concealed in the end of the spear. A lightning flash and a flash of thunder usually accompany the breaking of the spear. Formerly an electric spear was used, but it was found that the matches were simpler and more reliable.
Arrangements are provided at the Metropolitan Opera House so that an entire curtain of steam can be made to rise across the whole length of the stage, a narrow section of flooring being taken up, and a perforated section put in instead. A perforated steam pipe is also provided.