At its conclusion the populace break into shouts in praise of Sachs, who modestly yet most feelingly gives them thanks. When Beckmesser is led to the little mound of turf upon which the singer is obliged to stand, we have the humorous variation of the Mastersinger Motive from the Prelude. Beckmesser's attempt to sing Walther's poem ends, as Sachs had anticipated, in utter failure. The town clerk's effort is received with jeers. Before he rushes away, infuriated but utterly discomfited, he proclaims that Sachs is the author of the song they have derided. The cobbler-poet declares to the people that it is not by him; that it is a beautiful poem if sung to the proper melody and that he will show them the author of the poem, who will in song disclose its beauties. He then introduces Walther. The knight easily succeeds in winning over people and masters, who repeat the closing melody of his "Prize Song" in token of their joyous appreciation of his new and wondrous art. Pogner advances to decorate Walther with the insignia of the Mastersingers' Guild.
[[Listen]]
In more ways than one the "Prize Song" is a mainstay of "Die Meistersinger." It has been heard in the previous scene of the third act, not only when Walther rehearses it for Sachs, but also in the quintet. Moreover, versions of it occur in the overture and indeed, throughout the work, adding greatly to the romantic sentiment of the score. For "Die Meistersinger" is a comedy of romance.
In measures easily recognized from the Prelude, to which the Nuremburg Motive is added, Sachs now praises the masters and explains their noble purpose as conservators of art. Eva takes the wreath with which Walther has been crowned, and with it crowns Sachs, who has meanwhile decorated the knight with the insignia. Pogner kneels, as if in homage, before Sachs, the masters point to the cobbler as to their chief, and Walther and Eva remain on either side of him, leaning gratefully upon his shoulders. The chorus repeats Sachs's final admonition to the closing measures of the Prelude.
PARSIFAL
Stage Dedication Festival Play (Bühnenweihfestspiel) in three acts, words and music by Richard Wagner. Produced Bayreuth, July 26, 1882. Save in concert form, the work was not given elsewhere until December 24, 1903, when it was produced at the Metropolitan Opera House at that time under the direction of Heinrich Conried.
At the Bayreuth performances there were alternating casts. Winckelmann was the Parsifal of the première, Gudehus of the second performance, Jäger of the third. The alternating Kundrys were Materna, Marianne Brandt, and Malten; Gurnemanz Scaria and Siehr; Amfortas Reichmann; Klingsor, Hill and Fuchs. Hermann Levi conducted.
In the New York cast Ternina was Kundry, Burgstaller Parsifal, Van Rooy Amfortas, Blass Gurnemanz, Goritz Klingsor, Journet Titurel, Miss Moran and Miss Braendle the first and second, Harden and Bayer the third and fourth Esquires, Bayer and Mühlmann two Knights of the Grail, Homer a Voice.
Characters