BEARSKIN.
(DER BÄRENHÄUTER).
An Opera in three acts by SIEGFRIED WAGNER.
In the beginning of the year 1899 a great sensation thrilled through the musical world; Siegfried Wagner had written his first musical drama. Some call him the small son of a great father; others consider him to be the true heir of his father's greatness; I, for my part think that the truth, as usual, lies between these two extremes.
The drama was first performed in January 1899 on the Munich Stage, and a few days later Leipzig followed suit. The effect the work produced was much greater than the opponents of the young composer thought possible, and no doubt the "Bärenhäuter" will soon appear on all stages of importance, including that of Bayreuth, whose fanatical adherents have noised abroad young Siegfried's fame perhaps too loudly and too early for his advantage. That his work shows talent nobody will deny after having heard this drama, which is however not free from imitation of the works of greater masters. The manner of instrumentation, the musical declamation are his father's, but the orchestration is much simpler, and, unlike his father, he produces his greatest and best effects by means of simple melodies, but he fails when he seeks to become pathetic or dramatic. Like most modern composers he has written his libretto himself, and he has chosen a most original subject from one of Grimm's old fairy tales. The story is well told though at rather too great a length, and both libretto and music are very effective, full of action, fascinating the hearer and heightening his interest from act to act. In the second act, especially in the dialogues between Luise and Hans Kraft, are sufficient proofs of Siegfried's genius, and the conclusion is truly grand.
The scene is laid in Bavaria, in the country around Bayreuth, during the time of the Thirty Years war.
The first act takes place in a village in the Hummelgau. The soldiers are first returning after a long period of war to their native village, and are received enthusiastically by the inhabitants. Hans Kraft, the hero of the drama, looks in vain for his old mother and at last learns that sorrow and anxiety about her absent son have caused her death three years ago; she is already forgotten, and so is her son, who find himself alone and forsaken. He is rudely repulsed by the peasants who will not even give him a night's lodging in their cottages. Full of wrath and despair he turns into the forest where he is accosted by a wild looking being who laughs at his impotent rage and offers his help. Hans, perceiving the cloven hoof and the horns, at once recognizes the Devil in this queer fellow, and is at first unwilling to follow his advice; but the Devil is artful and insinuating, and at last Hans is induced to make an agreement with him by which he engages himself as Stoker in the infernal regions; he has to keep the fire burning under the caldron in which poor lost souls are being roasted. When he has served the devil for one year Hans will be free to go wherever he likes. In the next scene Hans has already arrived at his new quarters—hell—and, after having explained to Hans his new duties, the Devil leaves him. Hans now begins to stir the fire, but is soon arrested by a wailing voice which he recognizes as that of the old sergeant who so often tormented him on earth, and who now vainly entreats him to let him escape.
While Hans is gaily feeding the flames, a Stranger enters; his name is Peter the doorkeeper, (of course St. Peter,) who skilfully entices him to play at dice. He proposes that Hans should stake some years of his own life. Hans refuses to do so. The Stranger next proposes that Hans should stake the salvation of his soul, but without success. At last it is agreed that Hans shall win ten Florins if he throws the highest cast, and the Stranger shall win two souls out of the caldron if he wins. They play, and Hans loses time after time, and at last stakes all the souls in the caldron—and loses. St. Peter has delivered all the poor souls from the pains of hell and Hallelujas are heard from the heights above. Hans, who had at first thrown himself upon the Stranger to bind him, is held back by a superior power, a glory shines about St. Peter's head and Hans falls back struck with awe. The glory dies away and the Stranger resuming his former manner thanks Hans for his good deed in delivering the lost souls, and, as a reward he warns him not to put himself again in the power of the Devil, and kindly advises him to bear with patience and courage the punishment that will surely fall upon him for his foolish, thoughtless compact with the evil one. Bidding Hans remember that he has a friend who will not forget him, the Stranger departs.
The punishment is not long delayed, for the Devil returning in a rage takes vengeance upon Hans for his disobedience by covering him with black soot that cannot be washed off, and hanging a bearskin round him. To supply his needs the Devil gives him a magic scrip from which he can always take money. The only way in which he may be released from this hideous disguise is through the faithful love of a woman who will love him in spite of his repulsive appearance. Hans in vain rebels against this cruel sentence, the Devil reminds him of his contract. He gives Hans a ring and tells him that if he finds a maiden who truly loves him he is to split the ring in two and giving her one half he is to go away and leave her for three years. At the end of that time he may come back and claim her, and if the gold of the ring is pure and bright, it will be a proof that she is true to him and Hans will then be free. In that case the Devil promises to fulfil any three wishes that Hans may name. These arrangements made, Hans is at last flung out of hell and back to earth a pitiful object of loathing and ridicule.