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We have next the “Dragon,” “Elephant,” and “Tiger” motive: the “Dragon Motive” being intentionally reminiscent of the one in “Siegfried.”

There is not in the entire range of modern music anything more impressive than this splendid journey of a barbaric prince toward his chosen victim. No stage picture could be more dazzling than the one brought before the mind’s eye in the majestic, munificent measures that herald the pageant:

ARIA

“And true to his message the lover did come
With cymbals and horns and a big Indian drum!

The measures that follow these describe the tiger swinging on behind the triumphal cab. This is a delicious whimsicality, and the music is as gay and sportive as anything in “Die Meistersinger.”

ARIA

“And an elephant, huge, to his cab… was confined.”….

How the character of Bluebeard stands out in these passages–Bluebeard, morbid, erotic, megalophonous megalomaniac, with his grandiose air and outlandish accoutrements!

It seems odd that rumors of his matrimonial past had not reached Fatima, for the libretto tells us (authorized opera-house edition, not the one sold on the sidewalk) that his castle was only an hour’s ride distant. In any event, one would think the sight of the lover’s approach, with lions and elephants in attendance and a tiger hanging on behind the chariot, might have shown Fatima that, although Bluebeard might be admirable as an advance agent for a menagerie, he would hardly be a pleasant fireside companion. However, it was the old story! Moved by love, ambition, poverty, ennui, or what not, Fatima lost her head, as all Bluebeard’s previous wives had done, both before and after marriage, and left the humble home of her childhood for the unknown castle. Simple chords give us this information thus:

(Semplice, piano for the Humble Home; Agitato, fortissimo for the Unknown Castle.)

Then comes the “Liebesgruss_Motiv” (Love’s Greeting Motive). No single instrument can give this exquisite theme. The whole symphony of human nature seems to rise and spread its wings in a glorious harmony of pairs and twos of a kind melting in passionate octaves and triplets. The groping, ardent, distracted, thwarted, but ever protesting bass, set against a coquettish, evasive, yet timidly yielding treble; the occasional introduction of a mysterious minor in the midst of a well-authenticated major, gives us an intimation that wooing is not an exact science.

Next come the “Hochzeitsreise_und_Flitter_Wochen_Motive” (The Bridal Tour and Honeymoon motives). Here are harp glissandos; here are voices soaring, voices roaring, voices darting, voices floating, weaving an audible embroidery of sound. They make up the most exquisitely tender scene of the opera, and arc especially interesting to us in America, since they are built upon one of our national songs. This can only be regarded as a flattering recognition of our support of German opera in this country.

ARIA

“Midst the treasures of his palaces, dee-lighted to roam,

“Sister Anne with fair Fatima explored their new home!
“Home! Home! Sweet, sweet Home!
“There’s no place like home when a maid’s too poor to roam!”

It is later on in this act that we have the celebrated “Hope Motive,” a marvelous series of tone-pictures so novel and sensational that many box- holders are expected to drop in at ten-thirty for the excitement of this one brief scene. The motive wanders from key to key, hoping that in the end it will hit off the right one. Fatima is hoping to find her ideal in Bluebeard. Sister Anne is hoping to get a handsomer husband than Fatima’s; Blue-beard is hoping that Sister Anne will be his eighth spouse, and hoping that there will be room to hang her in the hidden chamber, in which his deceased wives are already pressed for room. All this is reflected in the voices of the singers, together with many other emotions. They hope that they will be able to come in just enough after or enough before, the usual time of entrance, to rivet the conductor’s attention; that they will be preserved from falling into one another’s parts; that they will not be drowned by the orchestra; that they will be able to mount the dizzying heights of a precipitous chromatic scale and manage an unrehearsed descent in fifths on the half-notes–something that always causes intense joy in an uneducated audience, especially when it is unsuccessful.