During a summer vacation at Teplitz in Bohemia, in 1845, Wagner
wrote the first sketch of the opera of 'Lohengrin.' The poem
was written at Dresden in 1845, but the score was finished
only in 1848. The opera was first performed at Weimar in 1850,
under the leadership of Liszt, who was greatly interested in it,
and determined to make it a success.
The poet composer had taken the idea for this poem from a
mediæval legend, based upon the old Greek myth of Cupid and
Psyche. Its poetical and musical possibilities immediately
struck him, and when the opera was first played to an audience
composed of musical and literary people from all parts of Europe,
whom Liszt had invited to be present, it produced 'a powerful
impression.' From the memorable night of its first performance
'dates the success of the Wagner movement in Germany.' During
the next nine years this opera was given in fourteen different
cities, and Wagner, who was then a political exile, is reported
to have sadly remarked, 'I shall soon be the only German who
has not heard Lohengrin.' It was in 1861, eleven years after
its first performance, that he finally heard it for the first
time in Vienna.
This opera won for Wagner not only lasting fame, but also the
enthusiastic admiration of the young Ludwig of Bavaria. Such
was the impression this work made upon the young prince, who
first heard it when he was only sixteen, that he resolved to
do all in his power to help the composer. Three years later he
succeeded to the throne of Bavaria as Ludwig II., and one of the
first independent acts of his reign was to send a messenger to
invite the master to come and dwell at his court, and to assure
him a yearly pension from his private purse. The young king
was so infatuated with the story of 'Lohengrin' that he not
only had his residence decorated with paintings and statues
representing different episodes of the opera, but used also
to sail about his lake, dressed in the Swan Knight's costume,
in a boat drawn by ingeniously contrived mechanical swans. The
story of this opera is as follows:--
Henry I., the Fowler, Emperor of Germany, about to make war
against the Hungarians who threaten to invade his realm, comes
to Antwerp to collect his troops, and to remind all the noblemen
of Brabant of their allegiance to him.
The opera opens with the trumpet call of the heralds, and by
Henry's speech to the assembled noblemen, who enthusiastically
promise him the support of their oft-tried arms. The king, who
is pleased with their readiness to serve him, then informs them
that he has heard rumours of trouble in their midst, and that
by right of his office as high justice of the realm he would
fain bring peace among them. He therefore summons Frederick of
Telramund, the guardian of the dukedom of Brabant, to state the
cause of dissension. This nobleman relates how the dying Duke
of Brabant confided his children, Elsa and Godfrey, to his care,
how tenderly he watched over them, and how much sorrow he felt
when the young heir, having gone out in the forest to walk with
his sister one day, failed to return. Frederick of Telramund
then goes on, and tells how he could not but suspect Elsa of her
brother's murder. He had therefore renounced her hand, which he
had once hoped to win, had married Ortrud, daughter of Radbod,
the heathen king and former possessor of all this tract of land,
which he now claims as his own by right of inheritance.
The people at first refuse to believe his dark accusation against
Elsa; but when Frederick declares she murdered her brother
so as to become sole mistress of the duchy, and to bestow it
upon some unworthy lover, the king sends for the maiden, and,
hanging his shield upon an oak, declares he will not depart
until he has tried this cause:--
'HERALD.
Now shall the cause be tried as ancient use requires.