502:...it was in this frame of mind yesterday that I finished writing out a very full & detailed scenario for Lohengrin; I am delighted with the result, indeed I freely admit that it fills me with a feeling of proud contentment. ... the more familiar I have become with my new subject & the more profoundly I have grasped its central idea, the more it has dawned upon me how rich & luxurious the seed of this new idea is, a seed which has grown into so full & burgeoning a flower that I feel happy indeed. ...In creating this work, my powers of invention & sense of formal structure have played their biggest part to date: the medieval poem which has preserved this highly poetical legend contains the most inadequate & pedestrian account to have come down to us, and I feel very fortunate to have satisfied my desire to rescue what by now is an almost unrecognizable legend from the rubble & decay to which the medieval poet has reduced the poem as a result of his inferior & prosaic treatment of it, & to have restored it to its rich & highly poetical potential by dint of my own inventiveness & reworking of it. â But quite apart from all this, how felicitous a libretto it has turned out to be! Effective, attractive, impressive & affecting in all its parts! â Johanna]'s role in it (Albert's daughter â see illustration below) â which is very important & in point of fact the principal role in the work â is bound to turn out the most charming & most moving in the world.
526:. It is apparent from the letter that Wagner and Franck had been discussing Lohengrin for some time, and Wagner refers back to an earlier argument about the relationship between Lohengrin and Elsa, and in particular whether Elsa's punishment of separation from Lohengrin at the end of the opera is justifiable. Wagner uses the letter firstly to argue in favour of his version and secondly to expand upon the more general mythical structure underpinning the relationship between Lohengrin and Elsa â a theme he would publicly develop in his 1851 autobiographical essay A Communication To My Friends. Elsa's punishment, Wagner argues, cannot be chastisement or death but that her separation from Lohengrin: 'this idea of separation- which, if it were left out, would require a total transformation of the subject and probably allow no more than its most superficial externals to be retained'. Franck's concern appears to be that this particular punishment of separation will make the opera incapable 'of being dramatically effective in a unified way'. Wagner confesses that Franck's concerns have forced him to look objectively at the poem and to consider ways of making Lohengrin's involvement in the tragic outcome clearer than had previously been the case. To this end, Wagner decided not to alter Act I or II but to write new lines in Act III:
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was interrupting the ceremony. The King tells Ortrud to step aside, then leads Elsa and the Knight toward the church. Just as they are about to enter the church, Telramund enters. He claims that his defeat in combat was invalid because the Knight did not give his name (trial by combat traditionally being open only to established citizens), then accuses the Knight of sorcery. He demands that the Knight must reveal his name; otherwise the King should rule the trial by combat invalid. The Knight refuses to reveal his identity and claims that only one person in the world has the right to make him do so: his beloved Elsa, and she has pledged not to exercise that right. Elsa, though visibly shaken and uncertain, assures him of her confidence. King Henry refuses
Telramund's questions, and the nobles of Brabant and Saxony praise and honor the Knight. Elsa falls back into the crowd where Ortrud and Telramund try to intimidate her, but the Knight forces them both to leave the ceremony, and consoles Elsa. Elsa takes one last look at the banished Ortrud, then enters the church with the wedding procession.
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1520:, and they express their love for each other. Ortrud's words, however, have made an impression on Elsa; she laments that her name sounds so sweet on her husband's lips but she cannot utter his name. She asks him to tell her his name when no one else is around, but at all instances he refuses. Finally, despite his warnings, she asks the Knight the fatal questions. Before the Knight can answer, Telramund and his four recruits rush into the room in order to attack him. The Knight defeats and kills Telramund. Then, he sorrowfully turns to Elsa and asks her to follow him to the King, to whom he will now reveal his secrets.
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402:"? The god is in love with a human woman and approaches her in human form. The lover finds that she cannot recognize the god in this form, and demands that he should make the real sensual form of his being known. Zeus knows that she would be destroyed by the sight of his real self. He suffers in this awareness, suffers knowing that he must fulfill this demand and in doing so ruin their love. He will seal his own doom when the gleam of his godly form destroys his lover. Is the man who craves for God not destroyed?
1681:", Ilias Chrissochoidis and Steffen Huck propose what they describe as "a complex and psychologically more compelling account . Elsa asks the forbidden question because she needs to confirm Lohengrin's belief in her innocence, a belief that Ortrud successfully erodes in Act II. This interpretation reveals Elsa as a rational individual, upgrades the dramatic significance of the Act I combat scene, and, more broadly, signals a return to a
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ability, arrives to unite and strengthen the people, and to defend the innocent noblewoman Elsa from a false accusation of murder, but he imposes a condition: the people must follow him without knowing his identity. Elsa in particular must never ask his name, or his heritage, or his origin. The conspirators attempt to undermine her faith in her rescuer, to create doubt among the people, and to force him to leave.
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seized by such desire to write
Lohengrin that, incapable of lingering in the bath for the prescribed hour, I leapt out after only a few minutes, scarcely took the time to clothe myself again properly, and ran like a madman to my quarters to put what was obsessing me on paper. This went on for several days, until the entire dramatic plan for Lohengrin had been set down in full detail.
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454:, together with a lengthy narrative of the rambling epic's principal content. Thus, Wagner admits, with one blow a whole new world was opened to him, and although unable to find the form to master the material for his own dramatic purpose, he could clearly visualize Lohengrin and it remained as an inextinguishable image within him.
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appears. She tells Elsa that the swan is actually
Gottfried, Elsa's brother, whom she cursed to become a swan. The people consider Ortrud guilty of witchcraft. Lohengrin prays and the swan turns back into young Gottfried. Lohengrin declares him the Duke of Brabant. Ortrud sinks as she sees her plans thwarted.
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completed before the second draft of Acts I and II. This has sometime led to the erroneous conclusion that the entire work was completed from the end to the front. On 9 September 1846 Wagner began to elaborate the instrumental and choral parts, which, along with the
Prelude, was completed on 29 August 1847.
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from his dominions. He also needs to settle a dispute involving the disappearance of the child-Duke
Gottfried of Brabant. The Duke's guardian, Count Friedrich von Telramund, has accused the Duke's older sister, Elsa, of murdering her brother in order to become Duchess of Brabant. Telramund calls upon
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s libretto was written. In the summer of 1845 Wagner with his wife Minna planned their annual hydrotherapeutic visit to
Marienbad. Putting his work as Kapellmeister at the Royal Dresden court out of his mind, Wagner's intention was to abandon himself to a life of the utmost leisure, and he had chosen
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As
Lohengrin sadly bids farewell to Elsa, the swan-boat reappears. Lohengrin tells Elsa that if she had kept her promise, she could have recovered her lost brother, and gives her his sword, horn and ring, for he is to become the future leader of Brabant. As Lohengrin tries to get in the boat, Ortrud
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As Elsa and her attendants are about to enter the church, Ortrud rushes to the front of the procession and challenges Elsa to explain who the Knight is and why anyone should follow him. Their conversation is interrupted by the entrance of the King with the Knight. Elsa tells both of them that Ortrud
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Telramund's supporters advise him to withdraw because he cannot prevail against the Knight's powers, but he proudly refuses. The chorus prays to God for victory for the one whose cause is just. Ortrud, Telramund's wife, does not join the prayer, but privately expresses confidence that
Telramund will
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Twice the Herald calls for a champion to step forward, but gets no response. Elsa kneels and prays that God may send her champion to her. A boat drawn by a swan appears on the river and in it stands a knight in shining armour. He disembarks, dismisses the swan, respectfully greets the king, and asks
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Composition of the full score began three months later on 1 January 1848, and by 28 April 1848 the composition of
Lohengrin was complete. In September 1848 Wagner conducted excerpts from Act I at a concert in Dresden to mark the 300th anniversary of the court orchestra (later Dresden Staatskapelle).
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Having completed the second complete draft of Act III ten months later on 5 March 1847, Wagner returned to the beginning of Act I and began work on the second draft of Act I on 12 May and which was complete on 8 June 1847. The second complete draft of Act II was started on 18 June and complete on 2
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Numerous changes to the poem, particularly Act III, took place during work on the second draft. At this time Wagner was still trying to clarify the precise nature of the tragedy, and the extent to which he needed to spell out the mechanics of the tragedy to the audience. On 30 May 1846 Wagner wrote
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Between May and June 1846, Wagner made a through-composed draft for the whole work that consisted of only two staves: one for the voice, the other just indicating the harmonies. Coterminously, Wagner began work on a second draft of the poem, beginning with Act III. The complete draft of Act III was
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as symptomatic of a fundamental turn from history towards myth. Instead
Spencer argues that Wagner did not draw any fundamental distinction between history and myth, and that Wagner's response to myth is dynamic and dialectical. History per se might be arid and reductive but it contained within it
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are divided by quarrels and political infighting; also, a devious hostile power left over from the region's pagan past is seeking to subvert the prevailing monotheistic government and to return Brabant to pagan rule. A mysterious knight, sent by God and possessing superhuman charisma and fighting
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Wagner asks Franck if he should explicitly mention the specific rule associated with the Grail which, although not expressly forbidding the Grail knights from committing such excesses, nevertheless, discourages them from acting in this way. Wagner's opinion is that it should be sufficient for the
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to defend her. His protection comes under the condition that she must never ask his name. If she violates this requirement, he will be forced to leave her. Wagner took up these characters and set the "forbidden question" theme at the core of a story which makes contrasts between the godly and the
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of Brabant". The Herald further announces that the Knight will lead the people to glorious new conquests, and will celebrate the marriage of himself and Elsa. In the back of the crowd, four noblemen quietly express misgivings to each other because the Knight has rescinded their privileges and is
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Lohengrin stood suddenly revealed before me in full armor at the center of a comprehensive dramatic adaptation of the whole material. ... I struggled manfully against the temptation to set down the plan on paper. But I was fooling myself: no sooner had I stepped into the noonday bath than I was
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Elsa if she will have him as her champion and marry him. Elsa kneels in front of him and places her honour in his keeping. He asks only one thing in return for his service: Elsa must never ask him his name or where he has come from. Elsa agrees to this ("Wenn ich im Kampfe fĂŒr dich siege").
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was written and composed between 1845 and 1848 when Wagner worked as Kapellmeister at the Royal Dresden court. The opera's genesis, however, starts some years earlier when Wagner was living and working in Paris. By late 1841, Wagner had conceived a five-act historical opera based on the
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Liszt initially requested Wagner to carefully translate his essay on the opera from French into German, that he might be the principal and long-standing interpreter of the work â a work which, after performing, he regarded as "a sublime work from one end to the other".
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The King calls for Elsa to answer Telramund's accusation. Elsa does not answer the King's inquiries, only lamenting her brother's fate ("Einsam in trĂŒben Tagen"). The King declares that he cannot resolve the matter and will leave it to God's judgment through
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777:, the cast included Theodor Habelmann as Lohengrin, Luise Garay-Lichtmay as Elsa, Marie Frederici as Ortrud, Adolf Franosch as Heinrich and Edward Vierling as Telramund. The first performance in Italy took place seven months later at the
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The troops arrive equipped for war. Telramund's corpse is brought in. Elsa comes forward, then the Knight. He tells the King that Elsa has broken her promise, and discloses his identity ("In fernem Land") by recounting the story of the
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as Elsa, Marthe Duvivier as Ortrud, Emil Blauwaert as Telramund, and Félix-Adolphe Couturier as Heinrich. There was however an 1881 French performance given as a Benefit, in the Cercle de la Méditerranée Salon at Nice, organized by
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win. The combat commences. The unknown Knight defeats Telramund but spares his life ("Durch Gottes Sieg ist jetzt dein Leben mein"). Taking Elsa by the hand, he declares her innocent. The crowd exits, cheering and celebrating.
333:, colloquially known in English-speaking countries as "Here Comes the Bride," usually played as a processional at weddings. The orchestral preludes to Acts I and III are also frequently performed separately as concert pieces.
575:, the Grail's advice is transformed into an explicit commandment, with Holden acknowledging, on her website, that translating a libretto is effectively writing a new one "despite its compulsory faithfulness to the original".
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1421:. Telramund, a strong and seasoned warrior, agrees enthusiastically. When the King asks Elsa who shall be her champion, Elsa describes a knight she has beheld in her dreams ("Des Ritters will ich wahren").
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by the law of the land. In addition, he announces that the King has offered to make the unnamed knight the Duke of Brabant; however, the Knight has declined the title, and prefers to be known only as "
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as Lohengrin, Bianca Blume as Elsa, Maria Löwe Destin as Ortrud, Pietro Silenzi as Telramund, and Giuseppe Galvani as Heinrich der Vogler. The performance on 9 November was attended by
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to be mined for an accurate evocation of 10th century Brabant. It would be nearly four years before Wagner's image of Lohengrin would again manifest itself to his creative imagination.
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A dove descends from heaven and, taking the place of the swan at the head of the boat, leads Lohengrin to the castle of the Holy Grail. A grief-stricken Elsa falls to the ground dead.
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Stewart Spencer neither regards the abandonment of the Hohenstaufen projects during the 1840s at this time nor, more specifically, in the musical and formal dissimilarities between
1541:, sent to protect an unjustly accused woman. The laws of the Holy Grail say that Knights of the Grail must remain anonymous. If their identity is revealed, they must return home.
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is reported to have missed hopping on the swan, afterwards turning to Elsa with the question: "Wann geht der nÀchste Schwan?" ("When does the next swan leave?"). In 1936, at the
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Tenors have sometimes run into trouble in the third act, just before Lohengrin departs by stepping on a swan-driven vessel or on the swan itself. In 1913, the Moravian tenor
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Seeking a more authentic picture of the TannhÀuser legend, Lehrs then provided Wagner with the annual proceedings of the Königsberg Germanic Society which not only included
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calling them to arms. Telramund secretly draws the four noblemen aside and assures them that he will regain his position and stop the Knight, by accusing him of sorcery.
707:. Although he conducted various extracts in concert in Zurich, London, Paris and Brussels, it was not until 1861 in Vienna that he was able to attend a full performance.
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When Elsa appears on the balcony before dawn, she hears Ortrud lamenting and pities her. As Elsa descends to open the castle door, Ortrud prays to her pagan gods,
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after the Swan Knight. It was King Ludwig's patronage that later gave Wagner the means and opportunity to complete, build a theatre for, and stage his epic cycle
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as Ortruda, Maurel as Friedrich, and Wladyslaw Seideman as Heinrich. The opera's first performance in Australia took place at the Prince of Wales Theatre in
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The sun rises and the people assemble. The Herald announces that Telramund is now banished, and that anyone who follows Telramund shall be considered an
806:, who annotated a copy of the vocal score with his impressions and opinions of Wagner (this was almost certainly his first exposure to Wagner's music).
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As outlined to Heine, Wagner's plan was to build on the success of the premiere of Rienzi in Berlin on 24 October 1847 with a follow-up performance of
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By 3 August 1845 he had worked out the prose draft. Wagner, with his head in a whirl, wrote to his brother, Albert, the following day, 4 August 1845:
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mounted the opera for the first time on 7 November 1883, in Italian, during the company's inaugural season. Campanini portrayed the title role with
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Hugh Vickers, Great Operatic Disasters, St. Martin's Griffin, New York, 1979, p. 50. Walter Slezak, "Wann geht der nÀchste Schwann" dtv 1985.
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is also the last of Wagner's four "Romantic" operas, and continues with the associative style of tonality that he had previously developed in
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Writing retrospectively in his 1865 biography (even if its royal patronage diminishes its reliability), Wagner tells the story of how
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Spencer, Stewart (2013). "Part II: Opera, music, drama â 4. The "Romantic operas" and the turn to myth". In Grey, Thomas S. (ed.).
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489:. His plan to lie beside a brook communing with Titurel and Parzival didn't last long and the longing to create was overpowering:
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the potential for a categorical interpretation allowing Wagner to make use of Leopold August Warnkönig's (1835â42), three volume
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his summer reading with care: the poems of Wolfram von Eschenbach, and the anonymous epic of Lohengrin with an introduction by
439:. As well as being the means by which Wagner first became aware of the Lohengrin legend, the anthology also retold the tale of
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423:(The Saracen Woman) and, although he lavished on it all the trappings of Grand Opera, his attention was soon distracted by a
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is also the last of his composed works before his political exile, and despite the seventeen-year-long performance hiatus,
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1001:. It received 6 performances in its first season in the opera house that Wagner built for the presentation of his works.
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263:, first performed in 1850. The story of the eponymous character is taken from medieval German romance, notably the
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occupies an ambiguous position within Wagner's aesthetic oeuvre. Despite Wagner's ostensible rejection of French
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from court, listen unhappily to the distant party-music. Ortrud reveals that she is a pagan witch (daughter of
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Wagner himself was unable to attend the first performance, having been exiled because of his part in the 1849
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August 1847. In a letter to Ferdinand Heine dated 6 August 1847, Wagner announced that he had completed the
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personally ordered and took a close interest in, to demonstrate what a connoisseur of Wagner he was. (see
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Selected Letters of Richard Wagner with original texts of passages omitted from existing printed editions
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on 22 March 1870 with Ătienne Troy as Friedrich von Telramund and Feliciano Pons as Heinrich der Vogler.
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in performances since 1945, because the former title has acquired meanings unforeseen by Wagner.
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has arrived in Brabant, where he has assembled the German tribes in order to expel the marauding
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450:'s critical study of the "Wartburg war" but also included a piece of criticism about the poem
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Cesare Gertonani, writing in Teatro alla Scala programme for Lohengrin, December 2012, p. 90
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audience to deduce the Grail's advice. Readers of the libretto in English will note that in
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Saxon, Thuringian, and Brabantian counts and nobles, ladies of honor, pages, vassals, serfs
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staged the work for the first time the following 16 September with van Dyck as Lohengrin,
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Later, in the same act, when Elsa calls on Lohengrin to punish her, the latter replies:
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first appeared as a supporting character in the final chapter of the medieval epic poem
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I feel pleased and happy as a result, since I am well satisfied with what I have done.
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2249:(London: Putnam, 1929), p. 117. The first Academy performance was 23 March 1874 with
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acquired Lotharingia as a vassal state, and 933, when his wars with the Magyars ended
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produced the opera for the first time on 30 March 1873, with Campanini as Lohengrin,
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541:(Wagner wrote five additional lines here but they were rejected in the final draft).
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2510:. Translated by Spencer, Stewart; Millington, Barry. London: J. M. Dent & Sons.
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s musical style nevertheless anticipates Wagner's future leitmotif technique.
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2136:: A paper given to the Patrons and Friends of Opera Australia", Sydney 2001)
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as Elsa. Mallinger also took the role of Elsa in the work's premiere at the
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and, irrespective of what Wagner sets out in his prose writings, Meyerbeer.
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tetralogy, to create his radical chromatic masterpiece of the late 1850s,
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as Telramund, Franco Novara as Heinrich, and Auguste Vianesi conducting.
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2580:, gallery of historic postcards with motifs from Richard Wagner's operas
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The Myths and Legends of King Arthur and the Knights of the Round Table
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on 5 February 1855. The Austrian premiere took place in Vienna at the
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794:. It was notably the first performance of any Wagner opera in Italy.
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as Ortrud. The work was produced in Munich for the first time at the
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Portrait of the opera in the online opera guide www.opera-inside.com
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Wagner, Richard (1987). Spencer, Stewart; Millington, Barry (eds.).
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In their article "Elsa's reason: on beliefs and motives in Wagner's
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Millington, Barry (1992). "The Music". In Millington, Barry (ed.).
1016:
Lohengrin (tenore), costume design for Lohengrin Act I, III (1888).
944:) on 9 November 1891. Performed in Italian, the production starred
710:
The opera's first performance outside German-speaking lands was in
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on 1 November 1871 in an Italian translation by operatic baritone
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1413:
the King to punish Elsa and to make him the new Duke of Brabant.
2566:: Wagner's autograph manuscript in the Richard Wagner Foundation
2052:: between grand opera and Musikdrama". In John, Nicholas (ed.).
1469:
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as Ortrud and Demeter Popovic as Telramund and was conducted by
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2145:) In fact, the first time the second part was ever sung at the
1004:
A typical performance lasts from about 3 hours, 30â50 minutes.
36:
936:
The first Chicago performance of the opera took place at the
427:
that he obtained through his friendship with the philologist
1896:
1894:
1516:
Elsa and her new husband are ushered in with the well-known
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in 1894, in a production directed by the composer's widow,
329:
The most popular and recognizable part of the opera is the
306:. He had discontinued composing it at the end of Act II of
1659:
Mein lieber Schwan... O Elsa! Nur ein Jahr an deiner Seite
472:
Flandrische Staats- und Rechtsgeschichte bis zum Jahr 1305
336:
The autograph manuscript of the opera is preserved in the
382:. Wagner attempted at the same time to weave elements of
2519:. Translated by Gray, Andrew. New York: Da Capo Press.
437:
Der Sagenschatz und die Sagenkreise des ThĂŒringerlandes
2570:
Libretto and leitmotifs in German, Italian and English
1737:"Text from Wolfram von Eschenbach: Parzival, book XVI"
3753:
1606:
Scene 4 opening, "Elsa's Procession to the Cathedral"
2257:
and del Puente (ibid.). See "Wagner in the Bowery",
747:
s Russian premiere, outside Riga, took place at the
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2438:"Elsa's reason: on beliefs and motives in Wagner's
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67:. Unsourced material may be challenged and removed.
1524:Scene 2: On the banks of the Scheldt (as in act 1)
820:as Friedrich, and Gian Pietro Milesi as Heinrich.
933:as Telramund and Charles Douaillier as Heinrich.
522:regarding the relationship between Lohengrin and
3004:Das Judenthum in der Musik (Jewishness in Music)
320:, and his lyrical comic opera of the mid-1860s,
292:The opera has inspired other works of art. King
3447:List of films using the music of Richard Wagner
2126:Wagner had written the Act III tenor monologue
773:in New York City on 3 April 1871. Conducted by
754:The Belgian premiere of the opera was given at
2515:Wagner, Richard (1992). Whittall, Mary (ed.).
2002:Wagner, Richard (2011). John, Nicholas (ed.).
888:was first publicly performed in France at the
586:this the atonement, this the Grail's command!
580:There's one atonement, penance for your crime!
3577:
3437:International Association of Wagner Societies
2637:
959:Lohengrin was first performed as part of the
877:below a moon with Wagner's face. Brochure in
816:as Elsa, Philippine von Edelsberg as Ortrud,
8:
2132:Peter Bassett, "An Introduction to Wagner's
1657:
1648:
1639:
1630:
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1598:
1589:
1575:
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1449:Night in the courtyard outside the cathedral
929:as Elsa, Caroline Fiérens-Peters as Ortrud,
896:on 30 April 1887 in a French translation by
559:diess muss die Strafe, diess die SĂŒhne sein!
551:
531:
144:
2351:Nice, muse et miroir dâinspiration musicale
2056:. London: Overture Publishing. p. 15.
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2540:The Art-Work of the Future and Other Works
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2100:
2088:
2010:. London: Overture Publishing. p. 91.
1900:
1777:
1701:, the same thing happened to Danish tenor
835:conducted the performance, which featured
555:ach, mich wie dich trifft ihre herbe Pein!
537:zu dir fĂŒhlt' ich in Liebe mich entbrannt,
164:
140:
2604:International Music Score Library Project
2491:. Cambridge: Cambridge University Press.
2436:Chrissochoidis, Ilias and Huck, Steffen,
2303:, 8 April 1871. See also Opera Gems.com,
2153:during the lavish 1936 production, which
2114:Grove's Dictionary of Music and Musicians
1188:is scored for the following instruments:
798:conducted the performance, which starred
557:Getrennt, geschieden sollen wir uns seh'n
553:Nur eine Strafe giebt's fĂŒr dein Vergeh'n
386:into the plot. He wrote the following in
362:. The Grail Knight Lohengrin, son of the
127:Learn how and when to remove this message
2609:San Diego OperaTalk! with Nick Reveles:
1019:
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1861:
1849:
1837:
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700:, it was an immediate popular success.
584:We must be parted! You must understand:
2424:
2326:"Istituto Nazionale di Studi Verdiani"
2037:. London: Faber and Faber. p. 10.
2020:
1951:
1939:
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1885:
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1801:
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259:in three acts composed and written by
1983:from the original on 17 February 2020
1400:Illustration from the London premiĂšre
859:as Elsa, Emmy Fursch-Madi as Ortrud,
239:
7:
684:, Germany, on 28 August 1850 at the
616:was not performed there until 1859.
582:Ah! I as you suffer this cruel pain!
571:'s 1990 singing translation for the
535:Als meine Augen dich zuerst ersah'n,
366:Parzival, is sent to the duchess of
65:adding citations to reliable sources
3546:
2374:formerly meant 'Leader' or 'Guide'.
2227:. L'Almanacco di Gherardo Casaglia
1644:" (Lohengrin's Declaration to Elsa)
2048:Grey, Thomas S. (2011). "Wagner's
1977:Amanda Holden: Musician and Writer
25:
2489:The Cambridge Companion to Wagner
2404:Prelude and Anti-anti-Semitism".
1747:from the original on 4 March 2016
1577:Wenn ich im Kampfe fĂŒr dich siege
1370:Time: Sometime between 925, when
533:O Elsa! Was hast du mir angethan?
279:, itself inspired by the epic of
3763:
3592:Music based on Arthurian legends
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3535:
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3113:MĂ€nnerlist gröĂer als Frauenlist
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2400:(2002). "Contesting Wagner: The
2366:von Brabant is often altered to
2353:(in French) Nice, 6 October 2017
612:in Berlin was not a success and
221:Deutsches Nationaltheater Weimar
41:
30:For the opera by Sciarrino, see
2385:The Opera Goer's Complete Guide
1591:Durch dich musst' ich verlieren
823:The United Kingdom premiere of
52:needs additional citations for
3508:Richard Wagner Museum, Lucerne
2864:Die Meistersinger von NĂŒrnberg
761:The United States premiere of
323:Die Meistersinger von NĂŒrnberg
1:
2997:A Communication to My Friends
2584:Wagner's libretto (in German)
2536:A Communication to My Friends
1029:Premiere cast, 28 August 1850
898:Charles-Louis-Ătienne Nuitter
435:'s 1835 anthology of legends
388:Mitteilungen an meine Freunde
3728:Once and Future King Part II
2482:. London: Thames and Hudson.
2387:by Leo Melitz, 1921 version.
1876:, Part Two: 1842â50, p. 303.
1828:, Part One: 1813â41, p. 213.
1804:, Part One: 1813â41, p. 212.
1600:Euch lĂŒften, die mein Klagen
1507:in the title role, 1894â1895
3721:Once and Future King Part I
3247:Houston Stewart Chamberlain
3204:Bayreuth Festival Orchestra
2664:List of works for the stage
2259:Scribner's Monthly Magazine
1512:Scene 1: The bridal chamber
431:. The book in question was
3847:
3811:Libretti by Richard Wagner
2921:Das Liebesmahl der Apostel
2267:Opera at the Stadt Theater
2219:Casaglia, Gherardo (2005).
1712:
1552:Notable arias and excerpts
989:alternating as Lohengrin,
904:, the performance starred
779:Teatro Comunale di Bologna
694:Johann Wolfgang von Goethe
390:about his Lohengrin plans:
29:
3521:
3219:Richard Wagner Foundation
2983:The Artwork of the Future
2659:
2534:Wagner, Richard (1993). "
2455:, 22/1 (2010), pp. 65â91.
2198:Austrian National Library
1915:, Letter 75, pp. 129â132.
1658:
1653:" (Lohengrin's Narration)
1649:
1640:
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1599:
1590:
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1135:Four Noblemen of Brabant
338:Richard Wagner Foundation
163:
152:
3806:Operas by Richard Wagner
3093:Die Laune des Verliebten
2447:22 December 2016 at the
2221:"Performance history of
1662:" (Lohengrin's Farewell)
1089:Friedrich of Telramund,
718:on 19 August 1858, with
676:The first production of
210:28 August 1850
3498:Wagner-Werk-Verzeichnis
3458:Nietzsche contra Wagner
3392:Richard Wagner Memorial
3387:Richard Wagner Monument
2781:Der Ring des Nibelungen
2729:Der fliegende HollÀnder
2453:Cambridge Opera Journal
2246:The Complete Opera Book
2164:20 October 2014 at the
2054:Lohengrin: ENO Guide 47
2033:Carr, Jonathan (2008).
2023:, Letter 78, p. 138n.1.
1632:Das sĂŒsse Lied verhallt
1442:Johanna Jachmann-Wagner
851:on 18 August 1877. The
705:May Uprising in Dresden
688:under the direction of
466:Der fliegende HollÀnder
348:The literary figure of
303:Der Ring des Nibelungen
201:Medieval German Romance
27:Opera by Richard Wagner
3801:German-language operas
3209:Bayreuth Festspielhaus
1508:
1453:Telramund and Ortrud,
1445:
1401:
1303:in B-flat, A and C, 3
1017:
882:
730:in the title role and
726:on 16 June 1867, with
716:Theater am KĂ€rntnertor
602:
589:
573:English National Opera
564:
552:
544:
532:
504:
496:
404:
360:Wolfram von Eschenbach
271:Wolfram von Eschenbach
241:[ËloËÉnËÉĄÊiËn]
145:
76:"Lohengrin" opera
3821:Operas set in Belgium
3470:The Perfect Wagnerite
3064:Ride of the Valkyries
2990:Autobiographic Sketch
2480:The Wagner Compendium
2312:15 March 2017 at the
2299:23 April 2021 at the
2272:23 April 2021 at the
2192:23 April 2021 at the
2141:10 April 2013 at the
1741:bibliotheca Augustana
1685:of Wagnerian drama."
1571:n" (Elsa's Narrative)
1568:Einsam in trĂŒben Tage
1503:
1440:
1399:
1107:Heinrich der Vogler (
1084:Josephine Fastlinger
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371:mundane, and between
298:Neuschwanstein Castle
32:Lohengrin (Sciarrino)
3675:A Connecticut Yankee
2669:List of compositions
2091:, pp. 281, 284.
2004:Lohengrin: ENO Guide
1954:, Letter 75, p. 130.
1942:, Letter 75, p. 129.
1888:, Letter 70, p. 124.
1366:Duchy of Lotharingia
1212:in B-flat, A and C,
1078:dramatic soprano or
978:and Ernst van Dyck,
942:Roosevelt University
871:Ludwig II of Bavaria
751:on 16 October 1868.
686:Staatskapelle Weimar
294:Ludwig II of Bavaria
285:. It is part of the
61:improve this article
3402:Wagner Ice Piedmont
3306:Cultural depictions
3297:Eva Wagner-Pasquier
3123:Wieland der Schmied
3025:Music of the Future
2901:Symphony in C major
1927:, pp. 333â334.
1444:as Ortrud, ca. 1860
1216:in B-flat and A, 3
948:as the title hero,
938:Auditorium Building
908:as the title hero,
672:Performance history
608:. As it turned out
344:Literary background
310:, the third of the
3643:Tristan und Isolde
3482:Der Ring in Minden
3424:The Case of Wagner
3183:Bayreuther BlÀtter
2976:Art and Revolution
2895:Non-operatic music
2852:Tristan und Isolde
2407:19th-Century Music
2332:on 11 January 2013
2286:The New York Times
2263:The New York Times
1699:Metropolitan Opera
1641:Höchstes Vertrau'n
1509:
1446:
1402:
1383:The people of the
1124:The King's Herald
1091:a Count of Brabant
1018:
883:
861:Giuseppe Kaschmann
853:Metropolitan Opera
827:took place at the
783:Salvatore Marchesi
765:took place at the
736:Berlin State Opera
732:Mathilde Mallinger
511:to the journalist
394:Who doesn't know "
317:Tristan und Isolde
287:Knight of the Swan
170:Production of the
18:Lohengrin (Wagner)
3816:Romantische Opern
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3199:Bayreuth Festival
3175:Bayreuth Festival
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3137:(1858; text only)
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3127:(1850; text only)
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3085:Unfinished operas
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2941:Wesendonck Lieder
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2575:Richard Wagner â
2498:978-0-521-64439-6
2251:Christina Nilsson
2147:Bayreuth Festival
2063:978-0-7145-4448-9
1864:, p. 71n.30.
1852:, pp. 71â72.
1178:
1177:
969:Willi Birrenkoven
961:Bayreuth Festival
954:Ădouard de Reszke
902:Charles Lamoureux
857:Christina Nilsson
829:Royal Opera House
749:Mariinsky Theatre
738:on 6 April 1869.
487:Joseph von Görres
419:dynasty entitled
380:Germanic paganism
296:named his castle
282:Garin le Loherain
273:, and its sequel
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3242:Eva Chamberlain
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3194:Bayreuth Circle
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906:Ernest van Dyck
900:. Conducted by
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800:Italo Campanini
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3342:
3334:
3330:Wagner's Dream
3326:
3318:
3309:
3307:
3303:
3302:
3300:
3299:
3294:
3289:
3284:
3282:Wieland Wagner
3279:
3274:
3269:
3264:
3259:
3254:
3249:
3244:
3239:
3237:Isolde Beidler
3233:
3231:
3225:
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3211:
3206:
3201:
3196:
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3189:Bayreuth canon
3186:
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3109:
3099:
3088:
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3060:
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3049:Opera excerpts
3043:
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2986:
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2957:
2947:
2937:
2931:Faust Overture
2927:
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2696:
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2666:
2660:
2657:
2656:
2653:Richard Wagner
2651:
2649:
2648:
2641:
2634:
2626:
2620:
2619:
2614:
2606:
2595:
2586:
2581:
2572:
2567:
2559:
2558:External links
2556:
2555:
2554:
2548:
2531:
2525:
2512:
2503:
2497:
2484:
2473:
2470:
2467:
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2429:
2427:, p. 192.
2417:
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2201:
2179:
2170:
2128:In fernem Land
2119:
2105:
2103:, p. 285.
2093:
2081:
2069:
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2040:
2025:
2013:
2008:Holden, Amanda
1994:
1965:Holden, Amanda
1956:
1944:
1929:
1917:
1905:
1903:, p. 284.
1890:
1878:
1866:
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1816:, p. 312.
1806:
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1713:Main article:
1710:
1707:
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1130:August PĂ€tsch
1128:
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946:Jean de Reszke
931:Maurice Renaud
923:Palais Garnier
839:as Lohengrin,
804:Giuseppe Verdi
796:Angelo Mariani
673:
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3488:Tristan chord
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3257:Cosima Wagner
3255:
3253:
3250:
3248:
3245:
3243:
3240:
3238:
3235:
3234:
3232:
3230:
3229:Wagner family
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3057:Bridal Chorus
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2017:
2014:
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1846:
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1840:, p. 68.
1839:
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1798:
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1792:, p. 70.
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1637:
1635:" (Love duet)
1628:
1619:
1618:Bridal Chorus
1616:
1613:
1612:
1610:
1605:
1596:
1594:" (Telramund)
1587:
1586:
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1518:bridal chorus
1514:
1513:
1506:
1505:Joseph O'Mara
1502:
1495:
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1362:Scheldt River
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1286:
1285:
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1277:
1276:double basses
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1250:
1246:
1242:
1239:
1237:
1233:
1229:
1225:
1221:
1219:
1215:
1214:bass clarinet
1211:
1207:
1203:
1199:
1196:(3rd doubles
1195:
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1190:
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1102:
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1097:
1094:
1092:
1088:
1087:
1083:
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1080:mezzo-soprano
1077:
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986:
981:
975:
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966:
965:Cosima Wagner
962:
957:
956:as Heinrich.
955:
951:
947:
943:
940:(now part of
939:
934:
932:
928:
924:
921:as Elsa. The
920:
916:
911:
910:FidĂšs DevriĂšs
907:
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895:
891:
887:
880:
876:
873:portrayed as
872:
868:
864:
862:
858:
854:
850:
846:
845:Anna D'Angeri
842:
838:
834:
830:
826:
821:
819:
818:Victor Maurel
815:
811:
807:
805:
801:
797:
791:
784:
780:
776:
772:
768:
767:Stadt Theater
764:
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750:
743:
739:
737:
733:
729:
728:Heinrich Vogl
725:
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671:
669:
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624:Musical style
623:
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570:
569:Amanda Holden
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430:
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421:Die Sarazenin
418:
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401:
397:
391:
389:
385:
384:Greek tragedy
381:
377:
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369:
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341:
339:
334:
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331:Bridal Chorus
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99:
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88:
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81:
78: â
77:
73:
72:Find sources:
66:
62:
56:
55:
50:This article
48:
44:
39:
38:
33:
19:
3740:
3733:
3726:
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3680:
3673:
3666:
3648:
3641:
3634:
3626:
3618:
3612:
3611:
3604:
3503:Museo Wagner
3480:
3476:Rhinemaidens
3468:
3456:
3429:
3422:
3364:
3356:
3337:
3328:
3321:
3314:Wagner Dream
3312:
3267:Minna Wagner
3252:Ludwig Geyer
3181:
3157:Holztrompete
3131:
3121:
3111:
3103:Die Hochzeit
3101:
3091:
3030:
3016:
3009:
2960:Kaisermarsch
2949:
2939:
2929:
2919:
2909:
2874:
2862:
2850:
2830:
2818:
2806:
2794:
2779:
2772:Music dramas
2752:
2751:
2739:
2727:
2705:
2698:
2691:
2610:
2598:
2590:
2576:
2539:
2516:
2507:
2488:
2479:
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2432:
2420:
2411:
2405:
2401:
2392:
2384:
2379:
2371:
2367:
2363:
2358:
2346:
2334:. Retrieved
2330:the original
2320:
2305:
2291:
2285:
2281:
2276:, 3 May 1871
2262:
2258:
2244:
2241:Gustav Kobbé
2236:
2229:(in Italian)
2222:
2182:
2173:
2155:Adolf Hitler
2151:Franz Völker
2133:
2127:
2122:
2112:
2108:
2096:
2084:
2077:Spencer 2013
2072:
2053:
2049:
2043:
2034:
2028:
2016:
2003:
1997:
1985:. Retrieved
1976:
1970:
1959:
1947:
1920:
1908:
1881:
1869:
1862:Spencer 2013
1857:
1850:Spencer 2013
1845:
1838:Spencer 2013
1833:
1821:
1809:
1797:
1790:Spencer 2013
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3791:1850 operas
3606:King Arthur
3551:WikiProject
3407:3992 Wagner
3367:(1982 film)
3359:(1904 film)
3340:(1986 film)
3333:(2012 film)
3325:(1983 film)
3272:Nike Wagner
3162:Wagner tuba
3042:Other opera
2808:Die WalkĂŒre
2685:Early works
2593:discography
2425:Kramer 2002
2414:(2â3): 193.
2021:Wagner 1987
1952:Wagner 1987
1940:Wagner 1987
1925:Wagner 1993
1913:Wagner 1987
1886:Wagner 1987
1874:Wagner 1992
1826:Wagner 1992
1814:Wagner 1993
1802:Wagner 1992
1766:Wagner 1993
1718:discography
1145:Four Pages
1033:Franz Liszt
1026:Voice type
999:Felix Mottl
995:Marie Brema
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841:Emma Albani
786: [
690:Franz Liszt
633:grand opéra
516: [
407:Composition
376:Christendom
117:August 2020
3780:Categories
3623:(Goldmark)
3452:Musikdrama
3150:Inventions
3133:Die Sieger
3018:Mein Leben
2741:TannhÀuser
2362:The title
2336:26 January
2290:"Wagner's
1723:References
1709:Recordings
1695:Leo Slezak
1531:Holy Grail
1410:Hungarians
1253:tambourine
1167:Hellstedt
1148:sopranos,
1040:Lohengrin
950:Emma Eames
927:Rose Caron
756:La Monnaie
654:TannhÀuser
441:TannhÀuser
364:Grail King
237:pronounced
214:1850-08-28
180:Librettist
172:Oslo Opera
87:newspapers
3826:Lohengrin
3742:Excalibur
3631:(Albéniz)
3613:Lohengrin
3513:Wahnfried
3442:Leitmotif
3338:Wahnfried
3071:Liebestod
2820:Siegfried
2753:Lohengrin
2611:Lohengrin
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2050:Lohengrin
1971:Lohengrin
1716:Lohengrin
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1535:Monsalvat
1485:Protector
1364:, in the
1360:, on the
1319:trombones
1301:clarinets
1232:trombones
1210:clarinets
1186:Lohengrin
1127:baritone
1049:Karl Beck
993:as Elsa,
919:Emma Juch
886:Lohengrin
875:Lohengrin
849:Melbourne
843:as Elsa,
825:Lohengrin
763:Lohengrin
742:Lohengrin
698:Karl Beck
678:Lohengrin
663:Lohengrin
659:Lohengrin
649:Lohengrin
637:Lohengrin
629:Lohengrin
614:Lohengrin
606:Lohengrin
594:Lohengrin
479:Lohengrin
452:Lohengrin
425:Volksbuch
412:Lohengrin
350:Lohengrin
308:Siegfried
276:Lohengrin
252:75, is a
232:Lohengrin
146:Lohengrin
3735:Tintagel
3689:Spamalot
3660:Musicals
3636:Parsifal
3531:Category
3365:Parsifal
3357:Parsifal
2968:Writings
2912:Overture
2876:Parsifal
2693:Die Feen
2589:Further
2445:Archived
2368:SchĂŒtzer
2310:Archived
2297:Archived
2270:Archived
2253:, Cary,
2190:Archived
2187:Playbill
2162:Archived
2139:Archived
1987:13 April
1981:Archived
1745:Archived
1611:Act III
1603:" (Elsa)
1539:Parsifal
1461:Duke of
1455:banished
1351:Synopsis
1328:triangle
1315:trumpets
1305:bassoons
1282:on-stage
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1228:trumpets
1218:bassoons
1096:baritone
1072:Ortrud,
967:, with
879:Der Floh
810:La Scala
789:Wikidata
355:Parzival
289:legend.
266:Parzival
254:Romantic
206:Premiere
198:Based on
188:Language
3668:Camelot
3416:Related
3317:(opera)
3011:Leubald
2910:Polonia
2517:My Life
2472:Sources
2149:was by
1614:Prelude
1585:Act II
1574:Scene "
1561:Prelude
1533:and of
1385:Brabant
1379:Summary
1358:Antwerp
1356:Place:
1332:cymbals
1293:piccolo
1264:violins
1249:cymbals
1241:timpani
1198:piccolo
1164:silent
1061:soprano
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769:at the
680:was in
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174:in 2015
101:scholar
3786:Operas
3756:Portal
3682:Merlin
3650:Gawain
3628:Merlin
3620:Merlin
3598:Operas
3322:Wagner
3117:(1838)
3107:(1832)
3097:(1830)
2955:(1870)
2945:(1858)
2925:(1843)
2915:(1836)
2904:(1832)
2707:Rienzi
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2372:FĂŒhrer
2364:FĂŒhrer
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1751:22 May
1557:Act I
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1289:flutes
1274:, and
1268:violas
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460:Rienzi
400:Semele
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3706:Other
3541:Audio
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1474:Freia
1470:Wodan
1433:Act 2
1404:King
1392:Act 1
1341:organ
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1311:horns
1297:oboes
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