100-429: Die Meistersinger von Nürnberg ( German: [diː ˈmaɪstɐˌzɪŋɐ fɔn ˈnʏʁnbɛːɐk] ; "The Master-Singers of Nuremberg"), WWV 96, is a music drama , or opera, in three acts, by Richard Wagner . It is the longest opera commonly performed, taking nearly four and a half hours, not counting two breaks between acts, and is traditionally not cut. With Hans von Bülow conducting, it was first performed on 21 June 1868 at
200-430: A Flieder -tree ( syringa or lilac-tree) before Sachs's. Apprentices are closing the shutters. Scene 1 The apprentices sing joyfully about St. John's Day, also called Midsummer Day , and its accompanying garlands of flowers and ribbons ("Johannistag! Johannistag!"). David informs Magdalena of Walther's failure. In her disappointment, Magdalena leaves without giving David the food she had brought for him. This arouses
300-427: A confusing lecture on the mastersingers' rules for composing and singing. (Many of the tunes he describes were real master-tunes from the period.) Walther is confused by the complicated rules, but is determined to try for a place in the guild anyway. Scene 3 The first mastersingers file into the church, including Eva's wealthy father Veit Pogner and the town clerk Beckmesser. Beckmesser, a clever technical singer who
400-499: A craftsmanlike approach to music-making, with an intricate system of rules for composing and performing songs. The work draws much of its atmosphere from its depiction of the Nuremberg of the era and the traditions of the master-singer guild. One of the main characters, the cobbler-poet Hans Sachs, is based on a historical figure, Hans Sachs (1494–1576), the most famous of the master-singers. Die Meistersinger von Nürnberg occupies
500-414: A faint image of dancing becomes apparent. As Tannhäuser repeatedly calls on Venus, she suddenly appears and welcomes him back, "Willkommen, ungetreuer Mann!" (Welcome, faithless man!). As Venus continues to beckon, "Zu mir! Zu mir!" (To me! To me!), in desperation, Wolfram suddenly remembers there is one word that can change Tannhäuser's heart and exclaims "Elisabeth!" Tannhäuser, as if frozen in time, repeats
600-627: A lesson of his own. Gervinus' book also mentions a poem by the real-life Hans Sachs on the subject of Protestant reformer Martin Luther , called "Die Wittenbergisch Nachtigall" (The Wittenberg Nightingale). The opening lines for this poem, addressing the Reformation , were later used by Wagner in Act III Scene 5 when the crowd acclaims Sachs: " Wacht auf, es nahet gen den Tag; ich hör' singen im grünen Hag ein wonnigliche Nachtigall. " (Awake,
700-515: A nineteenth century romantic view of the medieval period, with concerns about artistic freedom and the constraints of organised religion typical of the period of Romanticism . During Wagner's first stay in Paris (1839–1842) he read a paper by Ludwig Lucas on the Sängerkrieg which sparked his imagination, and encouraged him to return to Germany, which he reached on 7 April 1842. Having crossed
800-528: A particularly vivid picture of Hans Sachs and the mastersingers of Nuremberg. I was especially intrigued by the institution of the Marker and his function in rating master-songs ... I conceived during a walk a comic scene in which the popular artisan-poet, by hammering upon his cobbler's last, gives the Marker, who is obliged by circumstances to sing in his presence, his come-uppance for previous pedantic misdeeds during official singing contests, by inflicting upon him
900-500: A poem about Tannhäuser and the lure of the grotto of Venus , published in 1837 in the third volume of Der Salon . Other possible sources include Friedrich de la Motte Fouqué 's play Der Sängerkrieg auf der Wartburg and Eichendorff 's Das Marmorbild (The Marble Statue, 1818). The legend of Tannhäuser, the amorous crusading Franconian knight, and that of the song contest on the Wartburg (which did not involve Tannhäuser, but
1000-473: A prelude to the drama, too much; in the opposite event, too little." In the original, "Dresden" version, the overture comes to a traditional concert close (the version heard in concert performances). For the "Paris" version the music leads directly into the first scene, without pausing. Scene 1 Wagner's stage directions state: "The stage represents the interior of the Venusberg...In the distant background
1100-500: A result of reading Schopenhauer's ideas about the role of music, Wagner re-evaluated his prescription for opera, and included many of these elements in Die Meistersinger . Although Die Meistersinger is a comedy, it also elucidates Wagner's ideas on the place of music in society, on renunciation of Wille ( Will ), and on the solace that music can bring in a world full of Wahn (delusion, folly, self-deception). It
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#17327730341591200-506: A role that in the Dresden version was considered a soprano, was rewritten as for mezzo-soprano. Venus' aria "Geliebter, komm!" was transposed down by a semitone , and its latter part was completely rewritten. A solo for Walther was removed from act 2. Extra lines for Venus following Tannhäuser's "Hymn to Love" were added. The orchestral introduction to act 3 was shortened. The end of the opera was reworked to include Venus on stage, where before
1300-455: A sad tale of Tristan and Isolde. Hans Sachs was clever and did not want anything of King Marke's lot.") Having completed the scenario , Wagner began writing the libretto while living in Paris in 1862, and followed this by composing the overture . The overture was publicly performed in Leipzig on 2 November 1862, conducted by the composer. Composition of Act I was begun in spring of 1863 in
1400-462: A say in the matter, Pogner agrees that Eva may refuse the winner of the contest, but she must still marry a mastersinger. Another suggestion by Sachs, that the townspeople, rather than the masters, should be called upon to judge the winner of the contest, is rejected by the other masters. Pogner formally introduces Walther as a candidate for admission into the masterguild. Questioned by Kothner about his background, Walther states that his teacher in poetry
1500-527: A success at the Opéra represented his most significant opportunity to re-establish himself following his exile from Germany. However, rather than put the ballet in its traditional place in act 2, he chose to place it in act 1, in the form of a bacchanale , where it could make dramatic sense by representing the sensual world of Venus's realm. There were further extensive changes. The text was translated into French (by Charles-Louis-Étienne Nuitter and others). Venus,
1600-556: A trance, rises to his feet and sings a song of ecstatic love to Venus, "Dir Göttin der Liebe, soll mein Lied ertönen" (To thee, Goddess of Love, should my song resound). There is general horror as it is realised he has been in the Venusberg; the women, apart from Elisabeth, flee. She appears pale and shocked, while the knights and the landgrave gather together and condemn Tannhäuser to death. Only Elisabeth, shielding him with her body, saves him, "Haltet ein!" (Stop!). She states that God's will
1700-493: A unique place in Wagner's oeuvre. It is the only comedy among his mature operas (he had come to reject his early Das Liebesverbot ) and is also unusual among his works in being set in a historically well-defined time and place rather than in a mythical or legendary setting. It is the only mature Wagner opera based on an entirely original story, and in which no supernatural or magical powers or events feature. It incorporates many of
1800-482: A variety of sources into the opera narrative. According to his autobiography, he was inspired by finding the story in "a Volksbuch (popular book) about the Venusberg", which he said "fell into his hands", although he admits knowing of the story from the Phantasus of Ludwig Tieck and E. T. A. Hoffmann 's story, Der Kampf der Sänger (The Singers' Contest). Tieck's tale, which names the hero "Tannenhäuser", tells of
1900-539: A willing captive through his love for Venus, in her grotto in the Venusberg. The Venusberg, (the Hörselberg of " Frau Holda " in Thuringia, in the vicinity of Eisenach ), and a valley between the Venusberg and Wartburg Overture The substantial overture commences with the theme of the 'Pilgrim's Chorus' from act 3, scene 1, and also includes elements of the 'Venusberg' music from act 1, scene 1. The overture
2000-718: Is Wahn which causes the riot in Act II – a sequence of events arising from a case of mistaken identity, which can be seen as a form of self-delusion. Commentators have observed that in his famous Act III monologue Wahn, Wahn, überall Wahn (Madness! Madness!, Everywhere madness!), Sachs paraphrases Schopenhauer's description of the way that Wahn drives a person to behave in ways that are self-destructive: in Flucht geschlagen, wähnt er zu jagen; hört nicht sein eigen Schmerzgekreisch, wenn er sich wühlt ins eig'ne Fleisch, wähnt Lust sich zu erzeigen! driven into flight he believes he
2100-457: Is a bluish lake; in it one sees the bathing figures of naiads ; on its elevated banks are sirens . In the extreme left foreground lies Venus bearing the head of the half kneeling Tannhäuser in her lap. The whole cave is illuminated by rosy light. – A group of dancing nymphs appears, joined gradually by members of loving couples from the cave. – A train of Bacchantes comes from the background in wild dance... – The ever-wilder dance answers as in echo
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#17327730341592200-452: Is a very difficult song to interpret and sing. Beckmesser, his confidence restored by the prospect of using verses written by the famous Hans Sachs, ignores the warning and rushes off to prepare for the song contest. Sachs smiles at Beckmesser's foolishness but expresses hope that Beckmesser will learn to be better in the future. Wagner-Werk-Verzeichnis The Wagner-Werk-Verzeichnis ( Catalogue of Wagner's Works ), abbreviated WWV ,
2300-462: Is an index and musicological guide to the 113 musical compositions and works for the stage by Richard Wagner . It includes guidance on editions of the published works and explanations of historical performance practices. John Deathridge , Martin Geck , and Egon Voss compiled the catalogue. In compiling the catalogue, the authors studied Wagner's writings and examined drafts, sketches, and scores of
2400-467: Is applauded, but Tannhäuser chides him for his lack of passion. There is consternation, and once again Elisabeth appears confused, torn between rapture and anxiety. Biterolf accuses him of blasphemy and speaks of "Frauenehr und hohe Tugend" (women's virtue and honour). The knights draw their swords as Tannhäuser mocks Biterolf, but the landgrave intervenes to restore order. However, Tannhäuser, as if in
2500-584: Is based on two German legends: Tannhäuser , the mythologized medieval German Minnesänger and poet, and the tale of the Wartburg Song Contest . The story centres on the struggle between sacred and profane love, as well as redemption through love, a theme running through most of Wagner's work. The opera remains a staple of major opera house repertoire in the 21st century. The libretto of Tannhäuser combines mythological elements characteristic of German Romantische Oper (Romantic opera) and
2600-607: Is cursed, "bist nun ewig du verdammt!" (you are forever damned!) and is told by the pope that "Wie dieser Stab in meiner Hand, nie mehr sich schmückt mit frischem Grün, kann aus der Hölle heissem Brand, Erlösung nimmer dir erblühn!" (As this staff in my hand, no more shall bear fresh leaves, from the hot fires of hell, salvation never shall bloom for thee). Whereupon, absolutely crushed, he fled, seeking his former source of bliss. Having completed his tale, Tannhäuser calls out to Venus to take him back, "Zu dir, Frau Venus, kehr ich wieder" (To you, Lady Venus, I return). The two men struggle as
2700-404: Is engaged to anyone. Eva and Walther have fallen in love at first sight, but she informs him that her father, the goldsmith and mastersinger Veit Pogner, has arranged to give her hand in marriage to the winner of the guild's song contest on Saint John's Day ( Midsummer's Day ), tomorrow. Eva's maid, Magdalena, gets David, Hans Sachs's apprentice, to tell Walther about the mastersingers' art. The hope
2800-445: Is exiled. To Wolfram's horror, Tannhäuser explains he is once again seeking the company of Venus. Wolfram tries to restrain him, at the same time expressing compassion and begging him to tell the story of his pilgrimage. Tannhäuser urges Wolfram to listen to his story, "Nun denn, hör an! Du, Wolfram, du sollst es erfahren" (Now then, listen! You, Wolfram, shall learn all that has passed). Tannhäuser sings of his penitence and suffering, all
2900-427: Is for Walther to qualify as a mastersinger during the guild meeting, traditionally held in the church after Mass, and thus earn a place in the song contest despite his utter ignorance of the master-guild's rules and conventions. Scene 2 As the other apprentices set up the church for the meeting, David warns Walther that it is not easy to become a mastersinger; it takes many years of learning and practice. David gives
3000-601: Is frequently performed as a separate item in orchestral concerts, the first such performance having been given by Felix Mendelssohn conducting the Leipzig Gewandhaus Orchestra in February 1846. Wagner later gave the opinion that perhaps it would be better to cut the overture at opera performances to the Pilgrim's Chorus alone – "the remainder – in the fortunate event of its being understood – is, as
3100-469: Is hunting, and does not hear his own cry of pain: when he tears into his own flesh, he imagines he is giving himself pleasure! Following the completion of Tristan und Isolde , Wagner resumed work on Die Meistersinger in 1861 with a quite different philosophical outlook from that which he held when he developed his first draft. The character of Hans Sachs became one of the most Schopenhauerian of Wagner's creations. Wagner scholar Lucy Beckett has noted
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3200-422: Is intercepted by Magdalena, who informs her that Beckmesser is coming to serenade her. Eva, determined to search for Walther, tells Magdalena to pose as her (Eva) at the bedroom window. Scene 5 Just as Eva is about to leave, Walther appears. He tells her that he has been rejected by the mastersingers, and the two prepare to elope. However, Sachs has overheard their plans. As they are passing by, he illuminates
3300-485: Is kneeling, praying before the Virgin as Wolfram comes down the path and notices her Prelude to act 3 – "Tannhäusers Pilgerfahrt" (Tannhäuser's Pilgrimage) Scene 1 Orchestral music describes the pilgrimage of Tannhäuser. It is evening. Wolfram muses on Elisabeth's sorrow during Tannhäuser's second absence, "Wohl wusst' ich hier sie im Gebet zu finden" (I knew well I might find her here in prayer) and her longing for
3400-516: Is no point in finishing it. Sachs tries to convince the masters to let Walther continue, but Beckmesser sarcastically tells Sachs to stop trying to set policy and instead, to finish making his (Beckmesser's) new shoes, which are overdue. Raising his voice over the masters' argument, Walther finishes his song, but the masters reject him and he rushes out of the church. Evening. On the street corner by Pogner's and Sachs's houses. A linden tree ( tilia or lime-tree or basswood) stands outside Pogner's house,
3500-529: Is not amongst them, "Er kehret nicht züruck!" (He has not returned). She again kneels with a prayer to the Virgin that appears to foretell her death, "Allmächt'ge Jungfrau! Hör mein Flehen" (Almighty Virgin, hear my plea!). On rising she sees Wolfram but motions him not to speak. He offers to escort her back to the Wartburg, but she again motions him to be still, and gestures that she is grateful for his devotion, but her path leads to heaven. She slowly makes her way up
3600-535: Is reading a large book. Lost in thought, he does not respond as David returns from delivering Beckmesser's shoes. David finally manages to attract his master's attention, and they discuss the upcoming festivities – it is Saint John's day, Hans Sachs's name day . David recites his verses for Sachs, and leaves to prepare for the festival. Alone, Sachs ponders last night's riot. "Madness! Madness! Everywhere madness!" ( Wahn! Wahn! Überall Wahn! ) His attempt to prevent an elopement had ended in shocking violence. Nevertheless, he
3700-442: Is resolved to make madness work for him today. Scene 2 Sachs gives Walther an interactive lesson on the history and philosophy of music and mastersinging, and teaches him to moderate his singing according to the spirit (if not the strict letter) of the masters' rules. Walther demonstrates his understanding by composing two sections of a new Prize Song in a more acceptable style than his previous effort from Act I. Sachs writes down
3800-421: Is restored as abruptly as it was broken. A lone figure walks through the street – the nightwatchman, calling out the hour. Prelude, a meditative orchestral introduction using music from two key episodes to be heard in act 3: Sachs's scene 1 monologue "Wahn! Wahn!" and the "Wittenberg Nightingale" quasi-chorale sung by the townspeople to greet Sachs in scene 5. Scene 1: Sachs's workshop As morning dawns, Sachs
3900-468: Is that a sinner shall achieve salvation through atonement. Tannhäuser collapses as all hail Elisabeth as an angel, "Ein Engel stieg aus lichtem Äther" (An angel rose out of the bright ether). He promises to seek atonement, the landgrave exiles him and orders him to join another younger band of pilgrims then assembling. All depart, crying "Nach Rom!" (To Rome!). The valley of the Wartburg, in autumn. Elisabeth
4000-431: Is unenthusiastic about Beckmesser, who appears to be the only eligible contestant. She hints that she would not mind if Sachs, a widower, were to win the contest. Though touched, Sachs protests that he would be too old a husband for her. Upon further prompting, Sachs describes Walther's failure at the guild meeting. This causes Eva to storm off angrily, confirming Sachs's suspicion that she has fallen in love with Walther. Eva
4100-502: The French horn at the premiere, despite his often-expressed dislike of Wagner, who was present at many of the rehearsals. Wagner's frequent interruptions and digressions made rehearsals a very long-winded affair. After one 5 hour rehearsal, Franz Strauss led a strike by the orchestra, saying that he could not play any more. Despite these problems, the premiere was a triumph, and the opera was hailed as one of Wagner's most successful works. At
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4200-764: The National Theater in Munich , today home of Bavarian State Opera . The story is set in Nuremberg in the mid-16th century. At the time, Nuremberg was a free imperial city and one of the centers of the Renaissance in Northern Europe. The story revolves around the city's guild of Meistersinger (Master Singers), an association of amateur poets and musicians who were primarily master craftsmen of various trades. The master singers had developed
4300-546: The Paris Opéra . This had been requested by Emperor Napoleon III at the suggestion of Princess Pauline von Metternich , wife of the Austrian ambassador to France. This revision forms the basis of what is now known as the "Paris version" of Tannhäuser . The venue meant that the composer had to insert a ballet into the score, according to the traditions of the house. Wagner agreed to this condition since he believed that
4400-804: The Chorus of Sirens": "Naht euch dem Strande" (Come to the shore). In the Paris version, this orgiastic ballet is greatly extended. Scene 2 Following the orgy of the ballet, Tannhäuser's desires are finally satiated, and he longs for freedom, spring and the sound of church bells. He takes up his harp and pays homage to the goddess in a passionate love song, "Dir töne Lob!" (Let your praises be heard), which he ends with an earnest plea to be allowed to depart, "Aus deinem Reiche, muss ich fliehn! O Königin! Göttin! Lass mich ziehn!" (From your kingdom must I flee! O Queen! O Goddess, set me free). Surprised, Venus offers him further charms, but eventually his repeated pleas arouse her fury and she curses his desire for salvation. (In
4500-638: The Paris version, Venus's inveighing against Tannhäuser is significantly expanded). Eventually Tannhäuser declares: "Mein Heil ruht in Maria" (My salvation rests in Mary ). These words break the unholy spell. Venus and the Venusberg disappear. Scene 3 According to Wagner's stage directions, "Tannhäuser...finds himself in a beautiful valley... To the left one sees the Hörselberg. To the right...a mountain path from
4600-637: The Rhine, the Wagners drove towards Thuringia, and saw the early rays of sun striking the Wartburg; Wagner immediately began to sketch the scenery that would become the stage sets. Wagner wrote the prose draft of Tannhäuser between June and July 1842 and the libretto in April 1843. Wagner began composing the music during a vacation in Teplitz in the summer of 1843 and completed the full score on 13 April 1845;
4700-540: The Viennese suburb of Penzing , but the opera in its entirety was not finished until October 1867, when Wagner was living at Tribschen near Lucerne . These years were some of Wagner's most difficult: the 1861 Paris production of Tannhäuser was a fiasco, Wagner gave up hope of completing Der Ring des Nibelungen , the 1864 Vienna production of Tristan und Isolde was abandoned after 77 rehearsals, and finally in 1866 Wagner's first wife, Minna , died. Cosima Wagner
4800-788: The Wartburg, and the shepherd stops playing. The pilgrims pass Tannhäuser as he stands motionless, and then, praising God, ("Allmächt'ger, dir sei Preis!" (Almighty God, to you be praise!)) he sinks to his knees, overcome with gratitude. At that moment the sound of hunting-horns can be heard, drawing ever nearer. Scene 4 The landgrave's hunting party appears. The minnesingers (Wolfram, Walther, Biterolf, Reinmar, and Heinrich) recognise Tannhäuser, still deep in prayer, and greet him ("Heinrich! Heinrich! Seh ich recht?" (Heinrich! Heinrich! Do I see right?)) cautiously, recalling past feuds. They question him about his recent whereabouts, to which he gives vague answers. The minnesingers urge Tannhäuser to rejoin them, which he declines until Wolfram mentions Elisabeth,
4900-470: The audience disturbances were increased. This was partly due to members of the wealthy and aristocratic Jockey Club , who objected to the ballet coming in act 1, since this meant they would have to be present from the beginning of the performance (disrupting their dining schedule). It was alleged that they distributed whistles to the audience. A further incentive to disruption was the unpopularity of Princess von Metternich and of her native country of Austria. At
5000-704: The audience only heard the Venus motif , in an attempt to clarify the action. Tannhäuser ' s first performance in Paris was given on 13 March 1861 at the Salle Le Peletier of the Paris Opéra. The composer had been closely involved in its preparation and there had been 164 rehearsals. The costumes were designed by Alfred Albert, the sets by Charles-Antoine Cambon and Joseph Thierry (act 1, scene 1), Édouard Desplechin (act 1, scene 2 and act 3), and Joseph Nolau and Auguste Alfred Rubé (act 2). At
5100-609: The cobbler replies that he has to finish tempering the soles of the shoes, whose lateness Beckmesser had publicly complained about (in Act I). Sachs offers a compromise: he will be quiet and let Beckmesser sing, but he (Sachs) will be Beckmesser's "marker", and mark each of Beckmesser's musical/poetical errors by striking one of the soles with his hammer. Beckmesser, who has spotted someone at Eva's window (Magdalena in disguise), has no time to argue. He tries to sing his serenade, but he makes so many mistakes (his tune repeatedly places accents on
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#17327730341595200-482: The compositions. For the full list, see List of compositions by Richard Wagner . Tannh%C3%A4user (opera) Tannhäuser ( German: [ˈtanhɔʏzɐ] ; full title Tannhäuser und der Sängerkrieg auf Wartburg , "Tannhäuser and the Minnesängers' Contest at Wartburg ") is an 1845 opera in three acts, with music and text by Richard Wagner ( WWV 70 in the catalogue of the composer's works). It
5300-404: The dawn is drawing near; I hear, singing in the green grove, a blissful nightingale) In addition to this, Wagner added a scene drawn from his own life, in which a case of mistaken identity led to a near-riot: this was to be the basis for the finale of Act II. Out of this situation evolved an uproar, which through the shouting and clamour and an inexplicable growth in the number of participants in
5400-467: The derision of the other apprentices, and David is about to turn on them when Sachs arrives and hustles his apprentice into the workshop. Scene 2 Pogner arrives with Eva, engaging in a roundabout conversation: Eva is hesitant to ask about the outcome of Walther's application, and Pogner has private doubts about whether it was wise to offer his daughter's hand in marriage for the song contest. As they enter their house, Magdalena appears and tells Eva about
5500-638: The direction of the Wartburg ...; in the foreground, led to by a low promontory, an image of the Virgin Mary – From above left one hears the ringing of herder’s bells; on a high projection sits a young shepherd with pipes facing the valley". It is May. The shepherd sings an ode to the pagan goddess Holda , "Frau Holda kam aus dem Berg hervor" (Lady Holda, come forth from the hill). A hymn "Zu dir wall ich, mein Jesus Christ" (To thee I turn, my Jesus Christ) can be heard, as Pilgrims are seen approaching from
5600-647: The early 13th century, the landgraves of the Thuringian Valley ruled the area of Germany around the Wartburg. They were great patrons of the arts, particularly music and poetry, holding contests between the Minnesingers at the Wartburg. Across the valley towered the Venusberg , in whose interior, according to legend, dwelt Holda , the Goddess of Spring. In time, Holda became identified with Venus ,
5700-464: The end of the first performance, the audience called for Wagner, who appeared at the front of the Royal box, which he had been sharing with King Ludwig. Wagner bowed to the crowd, breaking court protocol, which dictated that only the monarch could address an audience from the box. Die Meistersinger von Nürnberg is scored for the following instruments: on-stage Nuremberg , towards the middle of
5800-409: The end of the overture to the start of the opera proper. The 1875 Vienna version is that normally used in modern productions of the "Paris" version, often with the reinstatement of Walther's act 2 solo. Wagner remained dissatisfied with the opera. Cosima Wagner noted in her diary on 23 January 1883 (three weeks before he died) "He says he still owes the world Tannhäuser ." Although the libretto and
5900-608: The first Dresden revival (1847) he clarified the representation of Venus's temptation of Tannhäuser in the final act and added vocal presentation of the pilgrim's chorus in this act (where it had previously been represented by orchestra alone). This version of the opera, as revised for publication in 1860, is generally known as the "Dresden" version. After Franz Liszt produced the opera at Weimar Court Theatre in 1849, there were further performances between 1852 and 1856 in (amongst other locations) Schwerin , Kassel , Poznań , Wiesbaden , Hanover, Munich, and Berlin. The Dresden version
6000-401: The first performance the opera was initially well-received, with disturbances including whistling and catcalls beginning to appear in act 2 and becoming prominent by the end of the third act. For the second performance much of the new ballet music was removed, together with some actions that had specifically provoked mockery, such as the piping of the shepherd in act 1. At this performance however
6100-662: The hall. Scene 2 Tannhäuser flings himself at Elisabeth's feet. He exclaims "O Fürstin!" (O Princess!). At first, seemingly confused, she questions him about where he has been, which he avoids answering. She then greets him joyfully ( "Ich preise dieses Wunder aus meines Herzens Tiefe!" (I praise this miracle from my heart's depths!)), and they join in a duet, "Gepriesen sei die Stunde" (Praise be to this hour). Tannhäuser then leaves with Wolfram. Scene 3 The landgrave enters, and he and Elisabeth embrace. The landgrave sings of his joy, "Dich treff ich hier in dieser Halle" (Do I find you in this hall) at her recovery and announces
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#17327730341596200-414: The hunting party gathers, blowing horns. The Minnesingers' Hall in the Wartburg castle Prelude to act 2 Scene 1 Elisabeth enters, joyfully. She sings, to the hall, of how she has been beset by sadness since Tannhäuser's departure but now lives in hope that his songs will revive both of them, "Dich, teure Halle, grüss ich wieder" (Dear hall, I greet thee once again). Wolfram leads Tannhäuser into
6300-408: The landgrave in the seats of honour in the foreground. The landgrave announces the contest and the theme, which shall be "Könnt ihr der Liebe Wesen mir ergründen?" (Can you explain the nature of Love?), and that the prize will be whatever the winner asks of Elisabeth. The knights place their names in a cup from which Elisabeth draws the first singer, Wolfram. Wolfram sings a song of courtly love and
6400-619: The landgrave's niece, "Bleib bei Elisabeth!" (Stay, for Elisabeth!). Tannhäuser is visibly moved, "Elisabeth! O Macht des Himmels, rufst du den süssen Namen mir?" (Elisabeth! O might of heaven, do you cry out the sweet name to me?). The minnesingers explain to Tannhäuser how he had enchanted Elisabeth, but when he had left she withdrew from their company and lost interest in music, expressing the hope that his return will also bring her back, "Auf's Neue leuchte uns ihr Stern!" (Let her star once more shine upon us). Tannhäuser begs them to lead him to her, "Zu ihr! Zu ihr!" (To her! To her!). The rest of
6500-571: The libretto he finds individual mention only in the list of characters, with the ensemble numbers that include him being labelled for the Ritter (i.e., "knights", referring to the Minnesinger , who all share knightly rank). The score in the Schirmer edition labels his melody line simply "Schreiber". Tannhäuser is scored for the following instruments: off-stage In Eisenach , Germany, in
6600-484: The medieval setting typical of many French Grand Operas . Wagner brings these two together by constructing a plot involving the 14th-century Minnesänger and the myth of Venus and her subterranean realm of Venusberg . Both the historical and the mythological are united in Tannhäuser's personality; although he is a historical poet composer, little is known about him other than myths that surround him. Wagner wove
6700-656: The minnesinger-knight's amorous adventures in the Venusberg, his travels to Rome as a Pilgrim, and his repudiation by the pope. To this Wagner added material from Hoffmann's story, from Serapions-Brüder (1819), describing a song contest at the Wartburg castle, a castle which featured prominently in Thuringian history. Heinrich Heine had provided Wagner with the inspiration for Der fliegende Holländer and Wagner again drew on Heine for Tannhäuser. In Heine's sardonic essay "Elementargeister" (Elemental spirits), there appears
6800-429: The name. As he does so, torches are seen, and a funeral hymn is heard approaching, "Der Seele Heil, die nun entflohn" (Hail, the soul that now is flown). Wolfram realises it must be Elisabeth's body that is being borne, and that in her death lies Tannhäuser's redemption, "Heinrich, du bist erlöst!" (Heinrich, you are saved). Venus cries out, "Weh! Mir verloren" (Woe! Lost to me!) and vanishes with her kingdom. As dawn breaks
6900-555: The new verses as Walther sings them. A final section remains to be composed, but Walther postpones the task. The two men leave the room to dress for the festival. Scene 3 Beckmesser, still sore from his drubbing the night before, enters the workshop. He spots the verses of the Prize Song, written in Sachs's handwriting, and infers (erroneously) that Sachs is secretly planning to enter the contest for Eva's hand. The cobbler re-enters
7000-847: The opera in Italy ). The American and British premieres of this version were respectively in New York at the Metropolitan Opera on 30 January 1889, and at London's Royal Opera House on 15 July 1895. A few further changes to Tannhäuser were made for an 1875 performance of the opera in Vienna , the last production carried out under Wagner's own supervision. These included the opera being sung in German (rather than in French, as in Paris) and linking
7100-420: The opera on 13 October, Johanna's 19th birthday, but she was ill, so it was postponed by six days. Venus was sung by Wilhelmine Schröder-Devrient , and the title role of Tannhäuser by Josef Tichatschek . The performance was conducted by the composer. Tannhäuser was not the success that Rienzi had been, and Wagner almost immediately set to modifying the ending, adjusting the score through 1846 and 1847. For
7200-420: The opera's famous overture , often played separately as a concert piece, was written last. While composing the music for the Venusberg grotto, Wagner grew so impassioned that he made himself ill; in his autobiography, he wrote, "With much pain and toil I sketched the first outlines of my music for the Venusberg .... Meanwhile, I was very much troubled by excitability and rushes of blood to the brain. I imagined I
7300-718: The operatic conventions that Wagner had railed against in his essays on the theory of opera: rhymed verse, arias , choruses , a quintet , and even a ballet . The autograph manuscript of the opera is preserved in the Germanisches Nationalmuseum . Wagner's autobiography Mein Leben ( My Life ) described the genesis of Die Meistersinger . Taking the waters at Marienbad in 1845 he began reading Georg Gottfried Gervinus ' Geschichte der deutschen Dichtung (History of German Poetry). This work included chapters on mastersong and on Hans Sachs. I had formed
7400-408: The pagan Goddess of Love, whose grotto was the home of sirens and nymphs . It was said that the goddess would lure the Wartburg minnesinger-knights to her lair where her beauty would captivate them. The minnesinger-knight Heinrich von Ofterdingen , known as Tannhäuser, left the court of the landgrave of Thuringia a year ago after a disagreement with his fellow knights. Since then, he has been held as
7500-555: The path alone. Scene 2 Wolfram, left alone as darkness draws on and the stars appear, begins to play and sings a hymn to the evening star that also hints at Elisabeth's approaching death, "Wie Todesahnung Dämmrung deckt die Lande... O du mein holder Abendstern " (Like a premonition of death the twilight shrouds the earth... O thou my fair evening star). Scene 3 It is now night. Tannhäuser appears, ragged, pale and haggard, walking feebly leaning on his staff. Wolfram suddenly recognises Tannhäuser and, startled, challenges him, since he
7600-568: The procession appears bearing Elisabeth's body on a bier. Wolfram beckons to them to set it down, and as Tannhäuser bends over the body uttering, "Heilige Elisabeth, bitte für mich!" (Holy Elisabeth, pray for me!) he dies. As the growing light bathes the scene the younger pilgrims arrive bearing the pope's staff sprouting new leaves, and proclaiming a miracle, "Heil! Heil! Der Gnade Wunder Heil!" (Hail!, Hail! To this miracle of grace, Hail!). All then sing "Der Gnade Heil ist dem Büßer beschieden, er geht nun ein in der Seligen Frieden!" (The Holy Grace of God
7700-517: The prospect of becoming a suitor for Eva's love – is also deeply Schopenhauerian. Sachs here denies the Will in its supposedly most insistent form, that of sexual love. Wagner marks this moment with a direct musical and textual reference to Tristan und Isolde : Mein Kind, von Tristan und Isolde kenn' ich ein traurig Stück. Hans Sachs war klug und wollte nichts von Herrn Markes Glück. ("My child, I know
7800-490: The remarkable similarity between Wagner's Sachs and Schopenhauer's description of the noble man: We always picture a very noble character to ourselves as having a certain trace of silent sadness... It is a consciousness that has resulted from knowledge of the vanity of all achievements and of the suffering of all life, not merely of one's own. (Schopenhauer: The World as Will and Representation ) The other distinctive manifestation of Sachs's character – his calm renunciation of
7900-427: The return of the pilgrims, and expresses concerns that he may not have been absolved. As he does so he hears a pilgrims' prayer in the distance, "Beglückt darf nun dich, O Heimat, ich schauen" (Joyfully may I now you, O homeland, behold). Elisabeth rises and she and Wolfram listen to the hymn, watching the pilgrims approach and pass by. She anxiously searches the procession, but in vain, realising sorrowfully Tannhäuser
8000-427: The room and Beckmesser confronts him with the verses and asks if he wrote them. Sachs confirms that the handwriting is his, but does not clarify that he was not the author but merely served as scribe. However, he goes on to say that he has no intention of wooing Eva or entering the contest, and he presents the manuscript to Beckmesser as a gift. He promises never to claim the song for his own, and warns Beckmesser that it
8100-478: The rumours of Walther's failure. Eva decides to ask Sachs about the matter. Scene 3 As twilight falls, Hans Sachs takes a seat in front of his house to work on new shoes for Beckmesser. He muses about Walther's song, which has made a deep impression on him ( Was duftet doch der Flieder , known as the Flieder Monologue). Scene 4 Eva approaches Sachs, and they discuss tomorrow's song contest. Eva
8200-463: The score always use the single name Tannhäuser in stage directions involving the title character or in indicating which passages are sung by him, that name never appears in the libretto. Rather, each character who addresses Tannhäuser by name uses his given name, Heinrich ( Heinrich von Ofterdingen ). The distinct character Heinrich der Schreiber sings many melodies distinct from all other named characters, and occasionally unique lyrics. However, in
8300-494: The semi-mythical minnesinger Heinrich von Ofterdingen ), came from quite separate traditions. Ludwig Bechstein wove together the two legends in the first volume of his collection of Thuringian legends, Der Sagenschatz und die Sagenkreise des Thüringerlandes (A treasury of the tales of Thuringian legends and legend cycles, 1835), which was probably the Volksbuch to which Wagner refers in his autobiography. Wagner also knew of
8400-426: The signal to begin ( Fanget an! ), Walther launches into a novel free-form tune ( So rief der Lenz in den Wald ), breaking all the mastersingers' rules, and his song is constantly interrupted by the scratch of Beckmesser's chalk on his chalkboard , maliciously noting one violation after another. When Beckmesser has completely covered the slate with symbols of Walther's errors, he interrupts the song and argues that there
8500-532: The sixteenth century. Prelude Scene 1: Interior of Katharinenkirche (St. Catherine's Church) in Nuremberg, Saint John's Eve or Midsummer 's Eve, June 23 After the prelude, a church service is just ending with a singing of Da zu dir der Heiland kam (When the Saviour came to thee ), an impressive pastiche of a Lutheran chorale , as Walther von Stolzing, a young knight from Franconia , addresses Eva Pogner, whom he had met earlier, and asks her if she
8600-437: The street with his lantern, forcing them to hide in the shadow of Pogner's house. Walther makes up his mind to confront Sachs, but is interrupted by the arrival of Beckmesser. Scene 6 As Eva and Walther retreat further into the shadows, Beckmesser begins his serenade. Sachs interrupts him by launching into a full-bellied cobbling song, and hammering the soles of the half-made shoes. Annoyed, Beckmesser tells Sachs to stop, but
8700-399: The struggle soon assumed a truly demoniacal character. It looked to me as if the whole town would break out into a riot...Then suddenly I heard a heavy thump, and as if by magic the whole crowd dispersed in every direction...One of the regular patrons had felled one of the noisiest rioters ... And it was the effect of this which had scattered everybody so suddenly. This first draft of the story
8800-556: The third performance on 24 March (which Wagner did not attend) uproar caused several interruptions of up to fifteen minutes at a time. As a consequence, Wagner withdrew the opera after the third performance. This marked the end to Wagner's hopes of establishing himself in Paris. The first performance outside France of the "Paris" version was given in Bologna on 7 November 1872 at the Teatro Comunale , (the first performance of
8900-493: The time thinking of Elisabeth's gesture and pain, "Inbrunst im Herzen, wie kein Büsser noch" (With a flame in my heart, such as no penitent has known). He explains how he reached Rome, and the "Heiligtumes Schwelle" (Holy shrine), and witnessed thousands of pilgrims being absolved. Finally, he approaches "ihn, durch den sich Gott verkündigt" (he, through whom God speaks) and tells his story. However, rather than finding absolution, he
9000-543: The upcoming song contest, at which she will preside, "dass du des Festes Fürstin seist" (that you will be the Princess of the Festival). Scene 4 and Sängerkrieg ( Song Contest ) Elisabeth and the landgrave watch the guests arrive. The guests assemble greeting the landgrave and singing "Freudig begrüssen wir die edle Halle" (With joy we greet the noble hall), take their places in a semicircle, with Elisabeth and
9100-559: The work of another contemporary, Christian Theodor Ludwig Lucas , whose Über den Krieg von Wartburg of 1838 also conflated the two legends. This confusion (which explains why Tannhäuser is referred to as 'Heinrich' in the opera) does not fit with the historical timeline of the events in the opera, since the Singers' Contest involving von Ofterdingen is said to have taken place around 1207, while Tannhäuser's poetry appeared much later (1245–1265). The sources used by Wagner therefore reflected
9200-486: The wrong syllables of the words) that from the repeated knocks Sachs finishes the shoes. David wakes up and sees Beckmesser apparently serenading Magdalena. He attacks Beckmesser in a fit of jealous rage. The entire neighborhood is awakened by the noise. The other apprentices rush into the fray, and the situation degenerates into a full-blown riot. In the confusion, Walther tries to escape with Eva, but Sachs pushes Eva into her home and drags Walther into his own workshop. Quiet
9300-470: Was Walther von der Vogelweide whose works he studied in his own private library in Franconia, and his teachers in music were the birds and nature itself. Reluctantly the masters agree to admit him, provided he can perform a master-song of his own composition. Walther chooses love as the topic for his song and therefore is to be judged by Beckmesser alone, the "Marker" of the guild for worldly matters. At
9400-589: Was dated "Marienbad 16 July 1845". Wagner later said, in Eine Mitteilung an meine Freunde (1851) (A Communication to my Friends) that Meistersinger was to be a comic opera to follow a tragic opera, i.e. Tannhäuser . Just as the Athenians had followed a tragedy with a comic satyr play , so Wagner would follow Tannhäuser with Meistersinger : the link being that both operas included song-contests. In 1854, Wagner first read Schopenhauer , and
9500-454: Was expecting to win the contest without opposition, is distressed to see that Walther is Pogner's guest and intends to enter the contest. Meanwhile, Pogner introduces Walther to the other mastersingers as they arrive. Fritz Kothner the baker, serving as chairman of this meeting, calls the roll. Pogner, addressing the assembly, announces his offer of his daughter's hand for the winner of the song contest. When Hans Sachs argues that Eva ought to have
9600-399: Was ill and lay for whole days in bed...." The instrumentation also shows signs of borrowing from French operatic style. The score includes parts for on-stage brass; however, rather than using French brass instruments, Wagner uses 12 German waldhorns . Wagner also makes use of the harp , another commonplace of French opera. Wagner made a number of revisions of the opera throughout his life and
9700-478: Was later to write: "When future generations seek refreshment in this unique work, may they spare a thought for the tears from which the smiles arose." The premiere was given at the Königliches Hof- und National-Theater , Munich, on 21 June 1868. The production was sponsored by Ludwig II of Bavaria and the conductor was Hans von Bülow . Franz Strauss , the father of the composer Richard Strauss , played
9800-534: Was still dissatisfied with its format when he died. The most significant revision was made for the opera's première in Paris in 1861. The first performance was given in the Königliches Hoftheater Dresden on 19 October 1845. The composer Ferdinand Hiller , at that time a friend of Wagner, assisted in the musical preparations for the production. The part of Elisabeth was sung by Wagner's niece Johanna Wagner . Wagner had intended to premiere
9900-523: Was struck by the philosopher's theories on aesthetics . In this philosophy, art is a means for escaping from the sufferings of the world, and music is the highest of the arts since it is the only one not involved in representation of the world (i.e. it is abstract). It is for this reason that music can communicate emotion without the need for words. In his earlier essay Oper und Drama (Opera and Drama) (1850–1) Wagner had derided staples of operatic construction: arias, choruses, duets, trios, recitatives, etc. As
10000-711: Was used for initial productions outside Germany, notably at Riga on 18 January 1853; at Tallinn on 10 January 1854; at Prague on 25 November 1854 at Theatre of the Estates ; at New York City on 4 April 1859 at the Stadt Theatre ; and in London on 6 May 1876 at the Royal Opera House , Covent Garden (when it was sung in Italian). Wagner substantially amended the opera for a special 1861 performance by
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