A Book of Operas: Their Histories, Their Plots, and Their Music

by Henry Edward Krehbiel

CHAPTER XIII

"TRISTAN UND ISOLDE"

A vassal is sent to woo a beauteous princess for his lord. While he is bringing her home the two, by accident, drink a love potion, and ever thereafter their hearts are fettered together. In the midday of delirious joy, in the midnight of deepest woe, their thoughts are only of each other, for each other. Meanwhile the princess has become the vassal's queen. Then the wicked love of the pair is discovered, and the knight is obliged to seek safety in a foreign land. There (strange note this to our ears) he marries another princess whose name is like that of his love, save for the addition With the White Hand; but when wounded unto death he sends across the water for her who is still his true love, that she come and be his healer. The ship which is sent to bring her is to bear white sails on its return if successful in the mission; black, if not. Day after day the knight waits for the coming of his love while the lamp of his life burns lower and lower. At length the sails of the ship appear on the distant horizon. The knight is now himself too weak to look. "White or black?" he asks of his wife. "Black," replies she, jealousy prompting the falsehood; and the knight's heart-strings snap in twain just as his love steps over the threshold of his chamber. Oh, the pity of it! for with the lady is her lord, who, having learned the story of the fateful potion, has come to unite the lovers. Then the queen, too, dies, and the remorseful king buries the lovers in a common grave, from whose caressing sod spring a rose-bush and a vine and intertwine so curiously that none may separate them. {1}

Upon the ancient legend which has thus been outlined Wagner reared his great tragedy entitled "Tristan und Isolde." Whence the story came nobody can tell. It is a part of the great treasure preserved from remotest antiquity by itinerant singers and story-tellers, and committed to writing by poets of the Middle Ages. The first of these, so far as unquestioned evidence goes, were French trouvères. From them the tale passed into the hands of the German minnesinger. The greatest of these who treated it was Gottfried von Strasburg (circa A.D. 1210), who, however, left the tale unfinished. His continuators were Ulrich von Türnheim and Heinrich von Freiberg, whose denouement (not, however, original with them) was followed by Hermann Kurtz when he published a version of Gottfried's poem in modern German in 1844. This, unquestionably, was the version which fell into Wagner's hands when, in the Dresden period (1843-1849) he devoted himself assiduously to the study of Teutonic legend and mythology. In English the romance has an equally honorable literary record. In 1804 Sir Walter Scott edited a metrical version which he fondly believed to be the work of the somewhat mythical Thomas the Rhymer and to afford evidence that the oldest literary form of the legend was British. The adventures of Tristram of Lyonesse (who is the Tristan of Wagner's tragedy) form a large portion of Sir Thomas Malory's thrice glorious "Morte d'Arthur." Of modern poets Tennyson, Matthew Arnold, and Swinburne have sung the passion of the ill-starred lovers.

Elements of the legend can be traced back to the ancient literatures of the Aryan peoples. The courtship by proxy has a prototype in Norse mythology in Skirnir's wooing of Gerd for Van Frey. The incident of the sails belongs to Greek story—the legend of AEgeus and Theseus; the magic potion may be found in ancient Persian romance; the interlocked rose-tree and vine over the grave of the lovers is an example of those floral auguries and testimonies which I have mentioned in connection with the legend of Tannhäuser and the blossoming staff: in token of their innocence flowers spring miraculously from the graves of persons wrongly done to death.

A legend which lives to be retold often is like a mirror which reflects not only the original picture, but also the social and moral surroundings of different relators. So this ancient tale has been varied by the poets who have told it; and of these variants the most significant are those made by Wagner. If the ethical scheme of the poet-composer is to be observed, the chief of these must be kept in mind. In the poems of Gottfried, Arnold, and Swinburne the love potion is drunk accidentally and the passion which leads to the destruction of the lovers is a thing for which they are in nowise responsible. Wagner puts antecedent and conscious guilt at the door of both of his heroic characters; they love each other before the dreadful drinking and do not pay the deference to the passion which in the highest conception it demands. Tristan is carried away by love of power and glory before man and Isolde is at heart a murderer and suicide. The potion is less the creator of an uncontrollable passion than it is an agency which makes the lovers forget honor, duty, and respect for the laws of society. Tennyson omits all mention of the potion and permits us to imagine Tristram and Iseult as a couple of ordinary sinners. Swinburne and Arnold follow the old story touching the hero's life in Brittany with the second Iseult (she of the White Hand); but while Swinburne preserves her a "maiden wife," Arnold gives her a family of children. Wagner ennobles his hero by omitting the second Isolde, thus bringing the story into greater sympathy with modern ideas of love and exalting the passion of the lovers.

The purpose to write a Tristan drama was in Wagner's mind three years before he began its execution. While living in Zurich, in 1854, he had advanced as far as the second act of his "Siegfried" when, in a moment of discouragement, he wrote to Liszt: "As I have never in my life enjoyed the true felicity of love, I shall erect to this most beautiful of my dreams" (i.e. the drama on which he was working) "a monument in which, from beginning to end, this love shall find fullest gratification. I have sketched in my head a 'Tristan und Isolde,' the simplest of musical conceptions, but full-blooded; with the 'black flag' which waves at the end I shall then cover myself—to die." Three years later he took up the project, but under an inspiration vastly different from that notified to Liszt. The tragedy was not to be a monument to a mere dream of felicity or to his artistic despair, but a tribute to a consuming passion for Mathilde Wesendonck, wife of a benefactor who had given him an idyllic home at Triebschen, on the shore of Lake Lucerne. Mme. Wesendonck was the author of the two poems "Im Treibhaus" and "Träume," which, with three others from the same pen, Wagner set to music. The first four were published in the winter of 1857-1858; the last, "Im Treibhaus," on May 1, 1858. The musical theme of "Träume" was the germ of the love-music in the second act of "Tristan und Isolde"; out of "Im Treibhaus" grew some of the introduction to the third act. The tragedy was outlined in prose in August, 1857, and the versification was finished by September 18. The music was complete by July 16, 1859. Wagner gave the pencil sketches of the score to Mme. Wesendonck, who piously went over them with ink so that they might be preserved for posterity.

In 1857 Wagner had been eight years an exile from his native land. Years had passed since he began work on "Der Ring des Nibelungen," and there seemed to him little prospect of that work receiving either publication or performance. In May of that year he received an invitation from Dom Pedro, Emperor of Brazil, to write an opera for Rio de Janeiro and direct its production. Two and a half years before he had seriously considered the project of coming to America for a concert tour; so the invitation did not strike him as so strange and extraordinary as it might have appeared to a musician of less worldly wisdom. It is not likely that he took it seriously into consideration, but at any rate it turned his thoughts again to the opera which he had mentioned to Liszt. With it he saw an opportunity for again establishing a connection with the theatre. Dom Pedro wanted, of course, an Italian opera. Wagner's plan contemplated the writing of "Tristan und Isolde" in German, its translation into Italian, the dedication of its score to the Emperor of Brazil, with the privilege of its performance there and a utilization of the opportunity, if possible, to secure a production beforehand of "Tannhäuser." Meanwhile, he would have the drama produced in its original tongue at Strasburg, then a French city conveniently near the German border, with Albert Niemann in the titular rôle and an orchestra from Karlsruhe, or some other German city which had an opera-house. He communicated the plan to Liszt, who approved of the project heartily, though he was greatly amazed at the intelligence which he had from another source that Wagner intended to write the music with an eye to a performance in Italian. "How in the name of all the gods are you going to make of it an opera for Italian singers, as B. tells me you are? Well, since the incredible and impossible have become your elements, perhaps you will achieve this, too," Liszt wrote to him, and promised to go to Strasburg with a Wagnerian coterie to act as a guard of honor for the composer. Nothing came of either plan. Inspired by his love for Mathilde Wesendonck, Wagner wrote the opera and succeeded in selling the score to Breitkopf & Härtel for the equivalent of $800. Then began the hunt for a theatre in which to give the first representation. Eduard Devrient urged Karlsruhe, where he was director, but Wagner wanted to supervise the production, and this was impossible in a theatre of Germany so long as the decree of banishment for participation in the Saxon rebellion hung over his head. The Grand Duke of Baden appealed to the King of Saxony to recall the decree, but in vain. Wagner went to Paris and Brussels, but had to content himself with giving concerts. Weimar, Prague, and Hanover were considered in order, and at length Wagner turned to Vienna. There the opera was accepted for representation at the Court Opera, but after fifty-four rehearsals between November, 1862, and March, 1863, it was abandoned as "impossible."

The next year saw the turning-point in Wagner's career. Ludwig of Bavaria invited him to come to Munich, the political ban was removed, and "Tristan und Isolde" had its first performance, to the joy of the composer and a host of his friends, on June 10, 1865, at the Royal Court Theatre of the Bavarian capital, under the direction of Hans von Bölow. The rôles of Tristan and Isolde were in the hands of Ludwig Schnorr von Carolsfeld and his wife. Albert Niemann was prevented by the failure of the Strasburg plan from being the first representative of the hero, but to him fell the honor of setting the model for all American representations. The first performance in the United States took place in the Metropolitan Opera-house on December 1, 1886, under the direction of Anton Seidl. The cast was as follows: Isolde, Lilli Lehmann; Brangäne, Marianne Brandt; Tristan, Albert Niemann; Kurwenal, Adolf Robinson; König Marke, Emil Fischer; Melot, Rudolph von Milde; ein Hirt, Otto Kemlitz; ein Steuermann, Emil Saenger; ein Seemann, Max Alvary.

Two circumstances bid us look a little carefully into the instrumental prelude with which Wagner has prefaced his drama. One is that it has taken so prominent a place in the concert-room that even those whose love for pure music has made them indifferent to the mixed art-form called the opera ought to desire acquaintance with its poetical and musical contents; the other is that the prelude, like the overture to "Fidelio" known as "Leonore No. 3," presents the spiritual progress of the tragedy from beginning to end to the quickened heart and mind of the listener freed from all material integument. To do this it makes use of the themes which are most significant in the development of the psychology of the drama, which is far and away its most important element, for the pictures are not many, and the visible action is slight. Listening to the music without thought of the drama, and, therefore, with no purpose of associating it with the specific conceptions which later have exposition in the text, we can hear in this prelude an expression of an ardent longing, a consuming hunger,