第52章 BAYREUTH(2)

Within these conditions, however, it effected a new departure in that excellent German institution, the summer theatre.Unlike our opera houses, which are constructed so that the audience may present a splendid pageant to the delighted manager, it is designed to secure an uninterrupted view of the stage, and an undisturbed hearing of the music, to the audience.The dramatic purpose of the performances is taken with entire and elaborate seriousness as the sole purpose of them; and the management is jealous for the reputation of Wagner.The commercial success which has followed this policy shows that the public wants summer theatresof the highest class.There is no reason why the experiment should not be tried in England.If our enthusiasm for Handel can support Handel Festivals, laughably dull, stupid and anti-Handelian as these choral monstrosities are, as well as annual provincial festivals on the same model, there is no likelihood of a Wagner Festival failing.Suppose, for instance, a Wagner theatre were built at Hampton Court or on Richmond Hill, not to say Margate pier, so that we could have a delightful summer evening holiday, Bayreuth fashion, passing the hours between the acts in the park or ontheriver before sunset, is it seriously contended that there would be any lack of visitors? If a little of the money that is wasted on grand stands, Eiffel towers, and dismal Halls by the Sea, all as much tied to brief annual seasons as Bayreuth, were applied in this way, the profit would be far more certain and the social utility prodigiously greater.Any English enthusiasm for Bayreuth that does not take the form of clamor for a Festival Playhouse in England may be set aside as mere pilgrimage mania.

Those who go to Bayreuth never repent it, although the performances there are often far from delectable.The singing is sometimes tolerable, and some times abominable.Some of the singers are mere animated beer casks, too lazy and conceited to practise the self-control and physical training that is expected as a matter of course from an acrobat, a jockey or a pugilist.

The women's dresses are prudish and absurd.It is true that Kundry no longer wears an early Victorian ball dress with "ruchings," and that Fresh has been provided with a quaintly modish copy of the flowered gown of Spring in Botticelli's famous picture; but the mailclad Brynhild still climbs the mountains with her legs carefully hidden in a long white skirt, and looks so exactly like Mrs.Leo Hunter as Minerva that it is quite impossible to feel a ray of illusion whilst looking at her.The ideal of womanly beauty aimed at reminds Englishmen of the barmaids of the seventies, when the craze for golden hair was at its worst.Further, whilst Wagner's stage directions are sometimes disregarded as unintelligently as at Covent Garden, an intolerably old-fashioned tradition of half rhetorical, half historical-pictorial attitude and gesture prevails.The most striking moments of the drama are conceived as tableaux vivants with posed models, instead of as passages of action, motion and life.

I need hardly add that the supernatural powers of control attributed by credulous pilgrims to Madame Wagner do not exist.

Prima donnas and tenors are as unmanageable at Bayreuth as anywhere else.Casts are capriciously changed; stage business is insufficiently rehearsed; the public are compelled to listen to a Brynhild or Siegfried of fifty when they have carefully arranged to see one of twenty-five, much as in any ordinary opera house.

Even the conductors upset the arrangements occasionally.On the other hand, if we leave the vagaries of the stars out of account, we may safely expect always that in thoroughness of preparation of the chief work of the season, in strenuous artistic pretentiousness, in pious conviction that the work is of such enormous importance as to be worth doing well at all costs, the Bayreuth performances will deserve their reputation.The band is placed out of sight of the audience, with the more formidable instruments beneath the stage, so that the singers have not to sing THROUGH the brass.The effect is quite perfect.