Chapter 10

CHAPTER X [How Wagner Operas Bang Along]

Three or four hours. That is a long time to sit in one place, whether
one be conspicuous or not, yet some of Wagner's operas bang along for
six whole hours on a stretch! But the people sit there and enjoy it all,
and wish it would last longer. A German lady in Munich told me that a
person could not like Wagner's music at first, but must go through the
deliberate process of learning to like it--then he would have his sure
reward; for when he had learned to like it he would hunger for it and
never be able to get enough of it. She said that six hours of Wagner was
by no means too much. She said that this composer had made a complete
revolution in music and was burying the old masters one by one. And
she said that Wagner's operas differed from all others in one notable
respect, and that was that they were not merely spotted with music here
and there, but were ALL music, from the first strain to the last. This
surprised me. I said I had attended one of his insurrections, and found
hardly ANY music in it except the Wedding Chorus. She said "Lohengrin"
was noisier than Wagner's other operas, but that if I would keep on
going to see it I would find by and by that it was all music, and
therefore would then enjoy it. I COULD have said, "But would you advise
a person to deliberately practice having a toothache in the pit of his
stomach for a couple of years in order that he might then come to enjoy
it?" But I reserved that remark.

This lady was full of the praises of the head-tenor who had performed in
a Wagner opera the night before, and went on to enlarge upon his old and
prodigious fame, and how many honors had been lavished upon him by the
princely houses of Germany. Here was another surprise. I had attended
that very opera, in the person of my agent, and had made close and
accurate observations. So I said:

"Why, madam, MY experience warrants me in stating that that tenor's
voice is not a voice at all, but only a shriek--the shriek of a hyena."

"That is very true," she said; "he cannot sing now; it is already many
years that he has lost his voice, but in other times he sang, yes,
divinely! So whenever he comes now, you shall see, yes, that the theater
will not hold the people. JAWOHL BEI GOTT! his voice is WUNDERSCHOEN in
that past time."

I said she was discovering to me a kindly trait in the Germans which
was worth emulating. I said that over the water we were not quite so
generous; that with us, when a singer had lost his voice and a jumper
had lost his legs, these parties ceased to draw. I said I had been to
the opera in Hanover, once, and in Mannheim once, and in Munich
(through my authorized agent)