第53章 BAYREUTH IN ENGLAND

I purposely dwell on the faults of Bayreuth in order to show that there is no reason in the world why as good and better performances of The Ring should not be given in England.Wagner's scores are now before the world; and neither his widow nor his son can pretend to handle them with greater authority than any artist who feels the impulse to interpret them.Nobody will ever know what Wagner himself thought of the artists who established the Bayreuth tradition: he was obviously not in a position to criticize them.For instance, had Rubini survived to create Siegmund, it is quite certain that we should not have had from Wagner's pen so amusing and vivid a description as we have of his Ottavio in the old Paris days.Wagner was under great obligations to the heroes and heroines of 1876; and he naturally said nothing to disparage their triumphs; but there is no reason to believe that all or indeed any of them satisfied him as Schnorr of Carolsfeld satisfied him as Tristan, or Schroder Devrient as Fidelio.It is just as likely as not that the next Schnorr or Schroder may arise in England.If that should actually happen, neither of them will need any further authority than their own genius and Wagner's scores for their guidance.Certainly the less their spontaneous impulses are sophisticated by the very stagey traditions which Bayreuth is handing down from the age of Crummles, the better.