ful stage pageant. The progress is
twice interrupted; first by Ortrud, who asserts her precedence, and
second by Telramund, who, in the scena "Den dort im Glanz," accuses
Lohengrin of sorcery. When Elsa still expresses her faith, the train
moves on, and reaches its destination amid the acclamations of the
chorus ("Heil, Elsa von Brabant!").

The third act opens in the bridal chamber with the graceful bridal
song by Elsa's ladies, "Treulich gefuhrt, ziehet dahin," whose
melodious strains have accompanied many unions, the world over,
besides those of Elsa and Lohengrin. The second scene is an exquisite
picture of the mutual outpouring of love, at first full of beauty and
tenderness, but gradually darkening as Ortrud's insinuations produce
their effect in Elsa's mind. Tenderly Lohengrin appeals to her, but in
vain; and at last the motive of warning is heard. The fatal questions
are asked, the tragedy of Telramund follows, and all is over. The last
scene introduces us once more to the meadow on the Scheldt, where
Lohengrin appears before the King and his vassals. In their presence
he reveals himself as the son of Parsifal, in a scena of consummate
power ("In fernem Land, unnahbar euren Schritten"), wherein the Grail
motive reaches its fullest development. It is followed by his touching
farewell, "O Elsa! nur ein Jahr an deiner Seite," the melody of which
can hardly be surpassed in dignity and impressiveness. The denouement
now hastens, and Lohengrin disappears, to the accompaniment of the
Grail motive.

TRISTAN UND ISOLDE.

"Tristan und Isolde," an opera in three acts, words by the composer,
was first produced at Munich, June 10, 1865, under the direction of
Hans von Buelow, with the following cast of characters:--

TRISTAN Herr LUDWIG SCHNORR VON CAROLSFELD.
KURWENAL Herr MITTERWURZER.
KING MARK Herr ZOTTMAYER.
ISOLDE Mme. SCHNORR VON CAROLSFELD.
BRANGOENA Mlle. DEINET.

"Tristan and Isolde" was commenced in 1857 and finished in 1859,
during the period in which Wagner was engaged upon his colossal work,
"The Ring of the Nibelung." As early as the middle of 1852 he had
finished the four dramatic poems which comprise the cyclus of the
latter, and during the next three years he finished the music to "Das
Rheingold" and "Die Walkuere." In one of his letters he says: "In the
summer of 1857 I determined to interrupt the execution of my work on
the Nibelungen and begin something shorter, which