THE BEYRUTH FESTIVAL.

Auckland Star, Volume LIX, Issue 94, 21 April 1928, Page 9 (Supplement)

THE BEYRUTH FESTIVAL.

Olin Downes, in his "Lure of Music," after dealing with the vicissitudes of Wagner's life and . the peculiarities of lu» unusual character concludes with this beautiful tribute: "We have spoken plainly of his life, as well as of his art. An artist's life is like a cathedral. At first there is grubbing in the soil, apparent ainilessness, disorder, confusion. Years may pass before clear outlines appear, years more before these outlines assume relation to one another. The day comes when the structure is complete. Scaffolding and rubbish are taken away. We suddenly catch our., breath. Lo! In the place of dirt, the turmoil, the confusion, there stands a towering monument to (Sod." As indicated in my last notes, I propose to devote most of the spqce at my disposal this week to brief outlines of the operas represented in the B&yreuth Festival records, to enable those who hear these wonderful records to understand something at least of the continuity of the operas.

Parsifal.

The story of "Parsifal" concerns the legend of the Holy Grail (the chalice from which Jesus drank at the Last Supper). Such was the depth of Wagner's sincerity in his treatment .of this sacred subject that lie expressed the earnest wish that the work should never be presented except in the Bayreuth Theatre, to which it was sacred. This, however, was a counsel of perfection, and the work has been produced in London, New York and Amsterdam, and in addition to its various revivals at Bayreuth.

The Grail and the spear that pierced (Thrift's aide fell to -the care of the Knights Templars. Klingsor, failing to obtain acceptance as a knight, vows eternal enmity, and near the knights' castle establishes by his magic a' garden filled with flower-women, enchantresses of infernal charm. Their leader, Kundry, enchanted the leader. of the knights, Amfortas enabling Klingsor to Tob him of the sacred spear. With it Klingsor inflicted on him a wound that would not heal until the spear 'should be recaptured by a "guileless fool." Giirnemanz, one of the knights, meets the youth Parsifal, and, hoping that he may prove to be the pure-souled fool, invites him to the knights' castle. Magically the scene, which is a forest, changes, till they arrive at the cathedral of the Holy Grail. This transformation scene and the subsequent long ceremony of, the knights! Eucharist, comprise moat of, the Parsifal music in the series »f Bay#euth records. Then follows the music of the flower maidens scene from Act 11. Parsifal, banished as a... fool <from . the knights' castle, has wandered into Klfngsor's m&gic garden,' and has met Kundry, but successfully resists her charms. Klingsor, enraged, hurls the sacred spear at Parsifal, who catches it as it pauses in the air above his head. He makes the sign of the cross, and the magic garden falls into ruins. In the third act >old Gurnemanz finds Kundry at death's,door, and restores her to life, her one desire being "to serve" now that she- is, freed from Klingsor's spell. A mysterious knight appears, who proves .'to/be the banished Parsifal. It is Good Ffiday, and seeing how fair the landscape is, Parsifal wonders that Nature should not grieve on the day of agony, but the old knight explains that Nature glows with gratitude to the Saviour. Here follows the Good Friday music. Briefly, then, Parsifal, who has been baptised by Gurnemanz, and has baptised Kundry, cures the wound of Amfortas, who had been ashamed to approach Grail until he was made whole. Parsifal assumes the leadership of the knights, and elevates the Grail. A halo of glory streams down from heaven upon him and Ktindry, redeemed by the guileless fool, sinks into a blissful sleep.

The Ring of the Nibelungs. The last three records of the Bayreuth Festival album comprise extracts froin three of tlie four mighty musicdramas that together make the wonderfill cycle usually known as "The Ring." After having dealt with Parsifal" (very indifferently, I fear, as it is not easy to • condense such a story into so few words without serious omissions), I realise that to do anything approaching justice to these other records in the little space left is an impossibility. The composition of "The Ring" occupied Wagner over a period of a-quarter of a century. Six years were spent in perfecting his ideas before Wagner wrote any of the music at all. The four operas, which must be studied in sequence if any one is to be properly appreciated, are "The Rhinegold," "The Valkyries," "Siegfried," and; "The Twilight of the Gods." To deal with them, even in a full column, is to court faUure, such a vast theme being beyond tne scope of notes such as these. It may happen, however, that there are points upon which readers may appreciate enlightenment. If so, I shall be happy, with the few books I have acquired from time to time, to do anything I can to assist towards a fuller understanding and enjoyment of this great music.