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Die Feen

About Me

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SYNOPSIS

Prior events

Arindal, King of Tramond, encounters a particularly beautiful doe while hunting, and follows it into the night. Finally, together with his servant Gernot, he mysteriously enters the fairy kingdom where, instead of the doe, the beautiful fairy Ada approaches him, and he immediately falls in love with her. Arindal marries Ada under the condition that, for eight years, he not ask who she is. The years pass and two children are born. Just before the expiration of the stipulated period of time, Arindal does, in fact, pose the forbidden question; he is instantly separated from Ada and, together with his servant Gernot, is removed from the fairy kingdom and put in a desolate, rocky area. Ada is, however, not prepared to renounce Arindal; for his sake she intends to leave the fairy kingdom and become a mortal. The king of the fairies, however, attaches new requirements to this which Arindal must fulfill.

ACT I

Ouverture featured on this page Farzana and Zemina engage the spirits and fairies of the fairy kingdom to do everything to separate Ada from Arindal and keep her for the fairy kingdom. While Arindal roams around looking for his lost Ada, his servant Gernot meets with Gunther and Morald at the court of Tramond. They have set out to search for Arindal after his father has died from grief over his supposedly lost son, and their archenemy Murold has brought war upon the land and wants to marry Lora, Arindal's sister and Morald's fiancee. [ Footnote: In "Tristan und Isolde", the name of Isolde's first husband - killed by Tristan - is, oddly enough, Morold. (ASL) ] Arindal is to be convinced to return to Tramond."Must I part forever from you", featured on this pageGernod tells the story of the wicked witch Dilnovaz in order to point out to Arindal that Ada is none other than an evil witch and that the separation from her should consequently be viewed as good fortune. Then Gunther, disguised as a priest, and Morald, in the mask of Arindal‘s father, attempt to bring about a decision, but both are unmasked by the influence of magical powers. When Morald finally reports fully objectively what has happened in Tramond since Arindal‘s disappearance, he is immediately prepared to return to Tramond with his companions. However, before they can set out upon their return, Arindal is once again brought to the fairy kingdom. Ada appears and demands that he swear not to curse her the next day, come what may. Arindal swears.

ACT II

Lora, hard pressed by the assault of the enemies of Tramond, awaits Morald's return. Happiness seems perfect when Morald finally arrives with Arindal. Gernot and his beloved Drolla, Lora's servant, celebrate their reunion after eight years of separation. Ada, at the crossroads between the fairy kingdom and the human world, remains faithful to her love and chooses the way to Arindal; she risks being turned into stone for one hundred years, should Arindal break his oath. In accordance with the conditions imposed by the fairy king, Ada now appears before Arindal as a gruesome, brutal mother who suddenly pushes her children into a fiery abyss, and as a traitor and enemy of Arindal's people and land, engulfing it in a devastating war. Arindal, thus provoked, curses Ada."Abominable! That is how you keep your oath?", featured on this pageInstantly, Ada's actions reveal themselves to have been an illusion, but she is given over to petrification, Arindal to desperation.

ACT III

Morald and Lora rule over Tramond since Arindal has gone insane and wanders about restlessly. The magician Groma, a friend of old of the rulers of Tramond, calls upon Arindal to free Ada. Farzana and Zemina support him in the belief that ArindaFs attempt to free Ada will be his ultimate ruin. Groma equips Arindal with a shield, sword and lyre, and leads his fight against earth spirits and brazen men. Ada is freed from petrification finally by the sound of the lyre. Ada and Arindal live happily ever after; however, the fairy kingdom does not relinquish Ada, but instead elevates Arindal to immortality."My husband Arindal", featured on this page ( ... with apologies to Freddy Mercury fans ;o) ... )

My Interests

Music:

Member Since: 04/04/2007
Band Members:
Characters:

Cast

Der Feenkönig (The Fairy King) - Bass

Ada (A Fairy) - Soprano

Farzana (A Fairy) - Soprano

Zemina (A Fairy) - Soprano

Arindal (King of Tramont) - Tenor

Lora (His sister) - Soprano

Morald (Her loverr) - Baritone

Gernot (Arindal's hunter) - Bass

Drolla (Loras Maid) - Soprano

Gunther (Coutier of Arindal) - Tenor

Harald (Arindal's Field Commander) - Bass

A messenger - Tenor

Voice of Groma (Magician) - Bass

Influences:

Die Feen (The Fairies) is Richard Wagner's first completed opera, composed entirely in 1833, when Wagner was 20 years old. The year before, Wagner had abandoned his first attempt at writing an opera, Die Hochzeit (The Wedding). After the initial failure to have "Die Feen" performed, Wagner completely dissociated himself from the work and made no further attempt at staging it.

On a rather speculative note, one might suspect that Wagner symbolically killed off his early effort by giving the name "Morold" to Isolde's first, slain husband (see Synopsis Act 1, footnote) - much like Richard Strauss setting up an actual tombstone in his garden for his first Opera "Guntram", with an "epitaph" that read "Cruelly crushed by his own father's orchestra".

Apparently, Wagner even considered destroying the manuscript, but eventually donated it to King Kudwig II of Bavaria. In 1939, the manuscript was given as a present to Adolf Hitler for his 50th birthday, and perished with him in flames in the Berlin bunker in the final days of World War II.

"Die Feen" remained unperformed until shortly after the composer's death in 1883, when it was premiered in Munich. The rehearsal assistant at the time was none other than the young Richard Strauss. The opera is rarely performed today, unsurprisingly so.

"Die Feen" sounds outdated even by contemporary standards, imitating the style of Carl Maria von Weber (whose "Freischütz" Wagner adored), complete with Recitativi(!). Even as a a youthful attempt, the music, for the most part, is somewhat dull and uninspired; traces of Wagner's future mastery are few and far between. I have attempted to select a few passages that hint at Wagner's mature, individualized later style. The Ouverture, on the other hand, might serve to illustrate the overall epigonal, pedestrian and heavy-handed quality of the work.

(ASL, with a few borrowings)
Type of Label: Major

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