“TANNHAUSER”

New Zealand Times, Volume LIII, Issue 12394, 13 March 1926, Page 14

“TANNHAUSER”

FIRST PERFORMANCE IN PARIS The nod of an Emperor in deference to a woman’s whim brought Wagner's “Tannhauser" to its first performance in Paris, and to one made memorable by the .outrageous disturbance it created in the French capital. Princess Mottemieh, the wife of an Austrian Ambassador to Paris in the time of Napoleon 111., wa? a great music-lover. In her reminiscences she tells how she secured the memorable performance. " ‘Tannhauser,’ Richard Warner!" said the Emperor, musingly, stroking his moustache in his habitual manner. “I have never heard of the opera or the composer. And- you think it is really good f ” I said I did, and the. Eanperor turned to his' Lord Chamberlain, Bacciochi, who had charge -of. the. Imperial theatres, and said to him, in his offhand way; ‘Oh, Baeciochi, Princess - Metternich is interested in an opera, called “Tannhauser," by ohe Richard Wagner, and wante to see it performed here in Paris—will you arrange to have it

iiPHiiiiiimimminiiiinPiiniiiiiinqmiiiiiiiiiaiiiiiiiitßianHiiiiauaßi doneP’ Baeciochi bowed and replied: "As. Your Majesty commands.” And that' 1 is how “Tannhauser*’ found its way to Paris.’’ ' ’ It,is said that the Emperor’s intention • was' to' flatter Austria, and make that country less susceptible to the wiles of Prince. Bismarck and the Prussians. Even an unknown composer and his opera can he a pawn in a king’s.game, it seems. If the Princess Metternich were alive to-day she would be very much surprised to find that “Tannhauser” has outlived not only the Third Empire, but the apparently impregnable Empire of Australia also—and that of Germany itself.

TOLSTOI SEES “SIEGFRIED” Tolstoi and Wagner had nothing in 'Common, aitd the great Russian was merciless in his criticisms of the equally great German. Here is an account of a performance of "Siegfried” taken from Tolstoi’s "What is ArtP" ‘‘When I arrived, an actor in tightfitting breeches was seated before an object. .that was meant to represent an anvil. . He wore a wig and a false beard; 'his white and'manipufed hands had’ nothing of the workman about them : and his easy air, prominent belly, and flabby muscles readily betrayed the! actor. With an absurd hammer he struck—Sß no one else would strike—a fantastic-looking sword-blade. One guessed he was a dwarf, because when he walked he bent his legs at the knqes. .He cried out a great deal,, and opened his mouth fn a queer fashion; The orchestra also emitted peculiar noises 'ike several beginnings that had nothing to do with one another. Then' another actor appeared with a horn in his bolt, leading a man droned np as a bear, who walked on allfours. ,He let loose the bear on the dwarf, who ran away, but forgot to bend his knees this time. Tfle actor with the human face represented the hero, "Siegfried." He cried out for a long time, and the dwarf replied in the same way. Then a traveller arrived the god "Wotaa." Ho had a wig, too; and, settling- himself with his spear, in a sillr attitude, he told "Mime" all about things he already knew, but of which the audience was ignorant. Then. Siegfried seized some bits that were supposed to . represent pieces of a sword, and sang: ‘Heaho; heaho, hoho. Hoheo, haho, haho, hoho I’ And that was the end of the first act.” .

Florence Austral is regarded as one of the best recording artists in Handelion airs. Her latesterecord is of "Let Me 1 Wander Not Unseen," and. on the reverse, Sullivan’s "Orpheus With His Lute:" These are delightfully rendered.

Arriving rather late -as a Christmas guest, but none the less welcome on that account is Vivian Foster, dubbed “The Vioar of Mirth," in an address suitable far the season. With no unkind intention, Vivian Foster mimics a certain type of preaoher witli amusing results, punctuating his remarks with TTes; I think so!” This is an excellent record to put on by way of contrast to some.serious song or piece of music bn occasions'when the company is mixed and many tastes have ,to he provided fdr.