with Don Carlos
This listing contains language that some may find offensive.
by Ivy Parkin
M. Willson Disher
Directed by Harry Davidson from the Commodore Theatre,
Hammersmith
Alfred Cortot (pianoforte): Barcarolle in F sharp minor. Berceuse Op. 57 (Chopin). The Harmonious Blacksmith (Handel)
M. Z. Francescatti (violin): Tzigane. Rhapsodie de concert (Ravel)
Benno Moiseivitch (pianoforte):
Andante favori (Beethoven)
Claudio Arrau (pianoforte): Islamey (Oriental Fantasy) (Balakirev)
Leader, Philip Whiteway
Conductor, E. Godfrey Brown
David Richardson (baritone)
from the Festspielhaus, Bayreuth
The Bayreuth Festival Orchestra
Conductor, Heinz Tietjen
Chorus master, Friedrich Jung
Producer, Emil Praetorius
Act 3 of Wagner's Opera
' LOHENGRIN '
Scene 1, The Bridal Chamber
Scene 2, The Banks of the Scheldt
The poetical motive pervading Lohengrin is the mystical story of the Holy Grail, while the dramatic element is based on the prohibited question of Lohengrin's identity, the asking of which must be fatal to his bride Elsa.
The Third Act completes the tragedy of Lohengrin. Elsa presses for an answer to the fatal question of Lohengrin's name and in the last scene we are taken back to the banks of the Scheldt with King Henry and the assembled knights as at first. Lohengrin solemnly reveals his identity and bids farewell. The swan and boat return. Lohengrin kneels in prayer. The swan disappears and Gottfried released from Ortrud's spell stands by his side. Elsa in despair at Lohengrin's departure dies in Gottfried's arms, while the boat, now drawn by a white dove, disappears in the distance.
See the article on Bayreuth by Scott Goddard on page 12
