38
Ortrud kneeling before Elsa 56
Tristan's Death 72
Walther crowned by Eva 88
The Rhine Maidens 105
Brunhilde discovering Siegmund and Sieglinde 120
Siegfried and Mime 138
Siegfried and the Rhine Maidens 154
Parsifal in the Enchanted Garden 172

[Illustration: BANISHMENT OF RIENZI.]

RIENZI,

THE LAST OF THE TRIBUNES.

Wagner was greatly troubled in the beginning of his career about
the choice of subjects for his operas. His first famous work,
'Rienzi,' is founded upon the same historical basis as Bulwer's
novel bearing the same name, and is a tragic opera in five
acts. The composer wrote the poem and the first two acts of
the score in 1838, during his residence at Riga, and from there
carried it with him to Boulogne. There he had an interview with
Meyerbeer, after his memorable sea journey. Wagner submitted
his libretto and the score for the first acts to that famous
composer, who is reported to have said, 'Rienzi is the best
opera-book extant,' and who gave him introductions to musical
directors and publishers in Paris. In spite of this encouraging
verdict on Meyerbeer's part, Wagner soon discovered that there
was no chance of success for 'Rienzi' in France, and, after
completing the score while dwelling at Meudon, he forwarded
it in 1841 to Dresden. Here the opera found friends in the
tenor Tichatscheck and the chorus-master Fisher, and when it
was produced in 1842 it was received with great enthusiasm. The
opera, which gave ample opportunity for great scenic display,
was so long, however, that the first representation lasted
from six o'clock to midnight. But when Wagner would fain have
made excisions, the artists themselves strenuously opposed him,
and preferred to give the opera in two successive evenings. At
the third representation Wagner himself conducted with such
success that 'he was the hero of the day.' This great triumph
was reviewed with envy by the admirers of the Italian school of
music, and some critics went so far in their partisanship as to
denounce the score as 'blatant, and at times almost vulgar.'
Notwithstanding these adverse criticisms, the opera continued
to be played with much success at Dresden, and was produced at
Berlin some years later, and at Vienna in