The Standard Operas: Their Plots, Their Music, and Their Composers / (12th edition) - George P. Upton

"Der Ring des Nibelungen," a trilogy, the subject taken from the Nibelungen Lied and adapted by the composer, was first conceived by Wagner during the composition of "Lohengrin." The four dramatic poems which constitute its cyclus were written as early as 1852, which will correct a very general impression that this colossal work was projected during the closing years of his life. On the contrary, it was the product of his prime. Hueffer, in his biographical sketch of Wagner, says that he hesitated between the historical and mythical principles as the subjects of his work,—Frederick the First representing the former, and Siegfried, the hero of Teutonic mythology, the latter. Siegfried was finally selected. "Wagner began at once sketching the subject, but gradually the immense breadth and grandeur of the old types began to expand under his hands, and the result was a trilogy, or rather tetralogy, of enormous dimensions, perhaps the most colossal attempt upon which the dramatic muse has ventured since the times of Æschylus." The trilogy is really in four parts,—"Das Rheingold" (the Rhinegold); "Die Walküre" (the Valkyrie); "Siegfried"; and "Die Götterdämmerung" (the Twilight of the Gods), "The Rhinegold" being in the nature of an introduction to the trilogy proper, though occupying an evening for its performance. Between the years 1852 and 1856 the composer wrote the music of the "Rhinegold" and the whole of "The Valkyrie;" and then, as he says himself, wishing to keep up his active connection with the stage, he interrupted the progress of the main scheme, and wrote "Tristan and Isolde," which occupied him from 1856 to 1859. During its composition, however, he did not entirely forsake the trilogy. In the autumn of 1856 he began "Siegfried," the composition of which was not finished until 1869, owing to many other objects which engaged his attention during this period, one of which was the composition of "The Mastersingers," which he wrote at intervals between 1861 and 1867. From the latter year until 1876, when the trilogy was produced at Baireuth, he gave himself wholly to the work of completing it and preparing it for the stage.

Prior to the production of the completed work, separate parts of it were given, though Wagner strongly opposed it. "The Rhinegold," or introduction, came to a public dress-rehearsal at Munich Aug. 25, 1869, and "The Valkyrie" was performed in a similar manner in the same city, June 24, 1870, with the following cast:—

WOTAN Herr KINDERMANN.
SIEGMUND Herr VOGL.
HUNDING Herr BAUSERWEIN.
BRÜNNHILDE Frl. STEHLE.
SIEGLINDE Frau VOGL.
FRICKA Frl. KAUFFMANN.

The "Siegfried" and "Götterdämmerung," however, were not given until the entire work was performed in 1876. Upon the completion of his colossal task Wagner began to look about him for the locality, theatre, artists, and materials suitable for a successful representation. In the circular which he issued, narrating the circumstances which led up to the building of the Baireuth opera-house, he says: "As early as the spring of 1871 I had, quietly and unnoticed, had my eye upon Baireuth, the place I had chosen for my purpose. The idea of using the Margravian Opera-House was abandoned so soon as I saw its interior construction. But yet the peculiar character of that kindly town and its site so answered my requirements, that during the wintry latter part of the autumn of the same year I repeated my visit,—this time, however, to treat with the city authorities…. An unsurpassably beautiful and eligible plot of ground at no great distance from the town was given me on which to erect the proposed theatre. Having come to an understanding as to its erection with a man of approved inventive genius, and of rare experience in the interior arrangement of theatres, we could then intrust to an architect of equal acquaintance with theatrical building the further planning and the erection of the provisional structure. And despite the great difficulties which attended the arrangements for putting under way so unusual an undertaking, we made such progress that the laying of the corner-stone could be announced to our patrons and friends for May 22, 1872." The ceremony took place as announced, and was made still further memorable by a magnificent performance of Beethoven's Ninth or Choral Symphony, the chorus of which, set to Schiller's "Ode to Joy," was sung by hundreds of lusty German throats. In addition to the other contents of the stone, Wagner deposited the following mystic verse of his own:

"I bury here a secret deep,
For centuries long to lie concealed;
Yet while this stone its trust shall keep,
To all the secret stands revealed."

He also made an eloquent address, setting forth the details of the plans and the purposes of the new temple of art. The undertaking was now fairly inaugurated. The erratic King of Bavaria had from the first been Wagner's steadfast friend and munificent patron; but not to him alone belongs the credit of the colossal project and its remarkable success. When Wagner first made known his views, other friends, among them Tausig, the eminent pianist, at once devoted themselves to his cause. In connection with a lady of high rank, Baroness von Schleinitz, he proposed to raise the sum of three hundred thousand thalers by the sale of patronage shares at three hundred thalers each, and had already entered upon the work when his death for the time dashed Wagner's hopes. Other friends, however, now came forward. An organization for the promotion of the scheme, called the "Richard Wagner Society," was started at Mannheim. Notwithstanding the ridicule which it excited, another society was formed at Vienna. Like societies began to appear in all the principal cities of Germany, and they found imitators in Milan, Pesth, Brussels, London, and New York. Shares were taken so rapidly that the success of the undertaking was no longer doubtful. Meanwhile the theatre itself was under construction. It combined several peculiarities, one of the most novel of which was the concealment of the orchestra by the sinking of the floor, so that the view of the audience could not be interrupted by the musicians and their movements. Private boxes were done away with, the arrangement of the seats being like that of an ancient amphitheatre, all of them facing the stage. Two prosceniums were constructed which gave an indefinable sense of distance to the stage-picture. To relieve the bare side walls, a row of pillars was planned, gradually widening outward and forming the end of the rows of seats, thus having the effect of a third proscenium. The stage portion of the theatre was twice as high as the rest of the building, for all the scenery was both raised and lowered, the incongruity between the two parts being concealed by a façade in front. "Whoever has rightly understood me," says Wagner, "will readily perceive that architecture itself had to acquire a new significance under the inspiration of the genius of Music, and thus that the myth of Amphion building the walls of Thebes by the notes of his lyre has yet a meaning."

The theatre was completed in 1876, and in the month of August (13-16) Wagner saw the dream of his life take the form of reality. He had everything at his command,—a theatre specially constructed for his purpose; a stage which in size, scenery, mechanical arrangements, and general equipment, has not its equal in the world; an array of artists the best that Europe could produce; an orchestra almost literally composed of virtuosi. The audience which gathered at these performances—composed of princes, illustrious men in every department of science and culture, and prominent musicians from all parts of the world—was one of which any composer might have been proud, while the representation itself marked an epoch in musical history, and promulgated a new system of laws destined to affect operatic composition ever after.

The casts of the various portions of the trilogy upon this memorable occasion were as follows:

DAS RHEINGOLD. (PRELUDE.)