prelude, to the opera takes for its subject the
descent of the Holy Grail, the mysterious symbol of the Christian
faith, and the Grail motive is the key to the whole work. The
delicious harmonies which accompany its descent increase in warmth and
power until the sacred mystery is revealed to human eyes, and then die
away to a pianissimo, and gradually disappear as the angels bearing
the holy vessel return to their celestial abode. The curtain rises
upon a meadow on the banks of the Scheldt, showing King Henry
surrounded by his vassals and retainers. After their choral
declaration of allegiance, Telramund, in a long declamatory scena of
great power ("Zum Sterben kam der Herzog von Brabant"), tells the
story of the troubles in Brabant, and impeaches Elsa. At the King's
command, Elsa appears, and in a melodious utterance of extreme
simplicity and sweetness, which is called the dream motive ("Einsam in
trueben Tagen"), relates the vision of the knight who is to come to her
assistance. The summons of the heralds preludes the climax of the act.
Amid natural outcries of popular wonderment Lohengrin appears, and, as
he leaves his boat, bids farewell to his swan in a strain of delicate
beauty ("Nun sei gedankt, mein lieber Schwan"). The preparations for
the combat are made, but before it begins, the motive of warning is
sounded by Lohengrin ("Nie sollst du mich befragen"). The finale of
the act takes the form of a powerful ensemble, composed of sextet and
chorus, and beginning with the prayer of the King, "Mein Herr und
Gott, nun ruf ich Dich."

The second act opens upon a night scene near the palace, which is
merry with the wedding festivities, while the discomfited Telramund
and Ortrud are plotting their conspiracy without in a long duet
("Erhebe dich, Genossin meiner Schmach"), which introduces new motives
of hatred and revenge, as opposed to the Grail motive. In the second
scene Elsa appears upon the balcony and sings a love-song ("Euch
Lueften, die mein Klagen"), whose tenderness and confidence are in
marked contrast with the doubts sown in her mind by Ortrud before the
scene closes. The third scene is preluded with descriptive sunrise
music by the orchestra, followed by the herald's proclamations,
interspersed by choral responses, leading up to the bridal-procession
music as the train moves on from the palace to the cathedral,
accompanied by a stately march and choral strains, and all the
artistic surroundings of a beauti