ressive septet, in which
Wolfram has a very impressive solo ("Als du in kuehnem Sange").

The second act opens in the singers' hall of the Wartburg. Elizabeth,
entering joyfully, greets it in a recitation ("Froh gruess ich dich,
geliebter Raum"), if we may so term it, which is characterized by a
joyous but dignified dramatic appeal, recalling the scenes of her
youth. The interview between Tannhaeuser and Elizabeth, which follows,
gives rise to a long dialogue, closing with a union of the two voices
in the charming duet, "Gepriesen sei die Macht." Then follows the
grand march and chorus, "Freudig begruessen wir die edle Halle,"
announcing the beginning of the song contest. The stirring rhythm and
bold, broad outlines of this march are so well known that it is
needless to dwell upon it. The scene of the contest is declamatory
throughout, and full of animation and spirit; its most salient points
being the hymn of Wolfram ("O Himmel lasst dich jetzt erflehen") in
honor of ideal love, and Elizabeth's appeal to the knights to spare
Tannhaeuser ("Zurueck von ihm"), which leads up to a spirited septet and
choral ensemble closing the act.

In the third act we are once more in the valley of the Wartburg. After
a plaintive song by Wolfram ("Wohl wusst ich hier sie im Gebet zu
finden"), the chorus of the returning pilgrims is heard in the
distance, working up to a magnificent crescendo as they approach and
cross the stage. Elizabeth, who has been earnestly watching them to
find if Tannhaeuser be of their number, disappointed, sinks upon her
knees and sings the touching prayer, "Allmaecht'ge Jungfrau, hoer mein
Flehen." As she leaves the scene, Wolfram takes his harp and sings the
enchanting fantasy to the evening star, "O, du mein holder
Abendstern,"--a love-song to the saintly Elizabeth. Tannhaeuser makes
his appearance. A long declamatory dialogue ensues between himself and
Wolfram, in which he recites the story of his pilgrimage. The scene is
one of extraordinary power, and calls for the highest vocal and
dramatic qualities in order to make it effective. From this point on,
the tragedy hastens. There is the struggle once more with the sirens,
and amid Wolfram's touching appeals and Tannhaeuser's exclamations is
heard the enticement of the Venus music. But at the name "Elizabeth"
it dies away. The mists grow denser as the magic crew disappears, and
through them is seen a light upon the Wartburg. The tolling of bells
and the son