A Musical Tragedy in three acts with a Prelude by AUGUST BUNGERT.
A musical drama of the highest interest, one which may be considered equal to Wagner's great Nibelung series, has been created at last.
"Odysseus' Return" is the third of four parts of a cyclus, called the Odyssey, and its success since its first representation in Dresden on December 12th 1896 has been so absolute, that one may hope to hear the other parts before long. It must be admitted here, that this is due partly to its splendid rendering under Schuch's genial conductorship, and to the interpreters of the two principal roles in the drama. Frau Wittich as Penelope is the very incarnation of womanliness and queenliness, and no singer could be a truer and nobler Odysseus than Karl Scheidemantel. Whosoever had the advantage of hearing these two great singers in these roles, must for ever identify them with the grand characters of ancient Greece.
Bungert is happy in having found a subject so noble and so sympathetic, and his music does full justice to these sentiments.
The orchestration is simple in character, sometimes of classic naïveté, and though the composer keeps to measures without caesura (destitute of rythm) which are peculiar to Wagner, he differs from him inasmuch as the orchestra is always merely the accompaniment of the voice and never drowns it.
All the characters are most life-like, and they thrill with those never changing emotions, which are the same to-day as they were a thousand years ago.
The plot treats of Homer's Odyssey with a poetic licence.
In the Prelude Pallas Athene appears, conveying the impression of a statue and forthwith producing the right frame of mind in the hearer, by the original song of thirty measures all in c.—After her disappearance Penelope's suitors assemble and form a plot to destroy Telemachus, the queen's son, of whom they are afraid. Hyperion, Telemachus' intimate friend tries to frustrate their plans, but in vain. When left alone he reproaches himself bitterly for his treachery to his friend and decides to warn him. Hyperion too is in love with the queen, but he is at the same time deeply attached to her noble son, who at this juncture is seen arriving in a vessel, in which he is setting out in quest of his father Odysseus.—Hyperion entreats Telemachus to let him accompany him on this dangerous voyage, but the latter begs him to remain with his lonely mother and embarks after taking a tender leave of Hyperion.
Then the scenery changes. The first act takes place in a bay of the isle of Ithaca, in which Odysseus has landed after many years of fruitless wandering. He has fallen asleep near a grotto, which is the abode of nymphs; beside him lie the gifts of the Phaeaces. On the heights the hut of old Eumaeus, Odysseus' steward is seen. He sits on a bench beside the aged Laërtes, Odysseus' father, awaiting his master. Shepherds, dancing and frolicking past him laugh and mock at the faithful servant's belief in Odysseus' return.
By and by Odysseus half awakes from the deep slumber, into which the gods have thrown him; the whole country seems to be enveloped in mist and he does not recognize it, although the songs of the peasants fill him with thoughts of his youth and his home. Dreamily he sinks back on his couch, while Pallas appears attired in beggar's garb, which she throws off and is seen clad fantastically in the costume of a royal shepherdess. She waves her hand, and the mist clears away when the whole country is seen bathed in moonlight and Odysseus opening his eyes recognizes mount Neriton and his own beloved island. Blinded with tears he kisses the sacred soil, and returns thanks to the gods, who have at last led him back to his home.