The standard operas, their plots and their music; . ?^ t^ 5 ?5, w ^ q en 5! <L) ?i S ?^ c3 i \ rt ^ P § w. <^ t/5 3 WAGNER 347 gedankt, mcin lieber Schwan ). The preparations for thecombat are made, but before it begins, the motive of warningis 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 prayerof 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 discom-fite
The standard operas, their plots and their music; . ?^ t^ 5 ?5, w ^ q en 5! <L) ?i S ?^ c3 i \ rt ^ P § w. <^ t/5 3 WAGNER 347 gedankt, mcin lieber Schwan ). The preparations for thecombat are made, but before it begins, the motive of warningis 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 prayerof 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 discom-fited Telramund and Ortrud are plotting their conspiracywithout in a long duet ( Erhebe dich, Genossin meincrSchmach ), which introduces new motives of hatred and re-venge, as opposed to the Grail motive. In the second sceneElsa appears upon the balcony and sings a love song ( EuchLiiften, die mein Klagen ), whose tenderness and confidenceare in marked contrast with the doubts sown in her mindby Ortrud before the scene closes. The third scene is pre-luded with descriptive sunrise music by the orchestra, foll
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Keywords: ., bookauthorupt, bookcentury1900, bookdecade1910, booksubjectoperas
