IN FERNEM LAND PDF

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He wants to obligate this part of his empire to serve against the Hungarian attackers. Elsa was accused of killing her brother. Now the king is to judge in front of the court tree. Elsa is given the opportunity to defend herself in court. But instead of defending herself, Elsa tells of her grief over the death of her brother and of a dream that a knight will appear who will fight for her and prove her innocence.

Lohengrin appears and promises to fight for her, but only on condition that she never asks him for his name or origin. After an intrigue of Ortruds and Telramunds, Elsa asks him the question on the wedding night. The spell is broken and Lohengrin solemnly proclaims his origins to everyone.

He is a knight of the Holy Grail, who has come from Montsalvat Castle. His father is Parzival. He himself is his knight, called Lohengrin.

He was sent by the Grail to fight evil and protect virtue. This means that the singer must have sufficient vocal power to bring this section to a climax of the evening.

The voice must be dignified, yet light, brilliant and mysterious, far from the pathetic and heroic. The piece is introduced by the orchestra.

A shimmering A major is audible in pianissimo. The tenor begins effortlessly, on an unstressed note. The intensity is increasing. A beautiful soft forte in A shines over the buzzing sound of the violins. The high Tessitura of the following passage keeps the drama and solemnity high. It is a demanding passage for the tenor to keep the vocal power high without overstraining his voice.

At the end Lohengrin reveals his name. Now the voice changes, it becomes magnificent, glorious and heroic, by no means hollow, but noble. It is the highlight and key of the opera. The Grail Narrative ends with a solemn orchestral finale. This Fach can only be mastered by a few tenors. The roles are reserved for experienced singers, as a young voice can quickly be damaged. The physical demands on the singer are immense. The duration of the opera is usually very long and the accompaniment by the orchestra is loud and dense.

The number of outstanding representatives of this fach is small and the artists are sought-after and usually booked years in advance. Even if the Swedish language is not necessarily suitable for the Lohengrin, even if it is still at the beginning in terms of interpretation, is sung too burschikos and also contains a musical error — here it is, the ideal Lohengrin voice. Fischer, large voices. For example, his crescendo is breathtaking and the melancholy hovering over the interpretation is incredibly harmonious.

The Dane Lauritz Melchior was perhaps the greatest Wagner tenor in history. His vocal reserves seem inexhaustible and his diction is excellent, probably dating back to his Bayreuth days, when he rehearsed the role with Cosima Wagner.

He captivates with an expressive phrasing and a tone of lyrical magic. In fernem Land — Pertile Domingo sang Lohengrin for the first time in , but he saw that he was not yet ready. The voice suffered from the strain. And only 15 years later he sang it again. The splendour of his voice and lyrical bel canto create a captivating, harmonious picture and delight the listener. There were only discussions about articulation. His German pronunciation has great weaknesses.

Of course, there were also purists who described the accent as no-go.

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