VII—WAGNER AND HIS SCHOOL
Richard Wagner, born in 1813, is by far the most imposing and most interesting of all writers of opera. His life and work deserve more than a passing paper, and clubs are urged to make an entire year's study of them. At twenty he wrote his first opera, Die Feen, rather a simple affair; this was distinctly in the Italian manner. Next he tried the French method, and wrote Rienzi, with an excellent libretto but showy music. Later, in poverty in Paris, he wrote The Flying Dutchman, a picturesque piece of music with beautiful chorus work. After this came the first of his great operas, Tannhauser, the story of the struggle of a soul between good and evil. This contains two famous passages, the Pilgrims' Chorus and the exquisite song to the Evening Star. It is in this opera that there first appears Wagner's distinctive method, the use of the Leit-motif, or guiding-theme, which associates one strain or one set of instruments with one character. This idea had been slightly used by Gluck, but Wagner developed it.
Five years later came Lohengrin, not as strong a piece of work as its predecessor, though the prelude is acknowledged to be one of his most poetic conceptions. None of Wagner's work was successful, however; and after this point he relinquished the hope of popularity, and determined to write only what seemed to him great music. In this lofty spirit he planned Der Ring des Nibelungen. His subject was taken from the old Norse mythology, the myths altered to suit his purpose. The whole work is in five parts: the Ring, the Rheingold, the Walküre, Siegfried, and the Twilight of the Gods. The plots of these should be read, and such music heard as can be obtained.
Then came Tristan and Isolde, called the Romeo and Juliet of music, and after it, strangely enough, followed a light opera, Die Meistersinger, at once a success; and last, what is considered his greatest work, Parsifal, which he called a Sacred Festival Drama rather than an opera. In this he returns to the theme he used in Lohengrin—the Holy Grail. The wonderful and touching mystical music must be heard to be appreciated. For years it has been given at Bayreuth, and musicians from all over the world have gathered to hear it. It is only of late that it has been produced elsewhere.
Wagner's life-work was to alter the whole course of modern opera and give it new dignity and power.
VIII—THE FRENCH SCHOOL OF TO-DAY
Gounod, born in 1818, is the greatest composer of French opera of modern times. His masterpiece is Faust, with its familiar Jewel Song; his second best work is Romeo and Juliet.
Thomas, the writer of Mignon, full of melody, and Hamlet, with its brilliant and powerful music, is distinctly a follower of Gounod.
Bizet shows in his Carmen the influence of Wagner; the Toreador strain is its guiding-theme. His work was to raise light opera to almost the dignity of grand.
Saint-Saëns has one well-known work, Samson and Delilah, somewhat suggestive of oratorio.