Siegfried Wagner (1869 - 1930)
BANADIETRICH
Siegfried Wagner was born in 1869 at Tribschen near Lucerne, the son of Richard Wagner and Liszt's daughter
Cosima, former wife of Hans von Bulow and later to be Wagner's
second wife. He was educated privately at home until his father's death in 1883, later
studying music with Engelbert Humperdinck in Frankfurt. He turned from music to
architecture after 1890, at first at the Berlin Polytechnic and then in Karlsruhe. It was here that he
came under the
influence of
the Wagner conductor Felix Mottl. A voyage to India and China in 1892 finally decided him and he
returned home to spend four years as an assistant at Bayreuth under his mother, Hans
Richter and Julius Kniese, a preparation for his future role as producer, director and conductor at
the Festival. In 1896 he
conducted The Ring and in 1901 he staged The Flying Dutchman, taking charge of the
Festival from 1906 until his death in 1930.
The twelve completed operas of Siegfried Wagner are very different from those of his father, although he
followed the latter's example in writing his own libretti. The subjects chosen
reflect, perhaps, the interests of Humperdinck, often based on fairy-tales or magic
in a world that reflects the stories collected by the Brothers Grimm. The sixth of
the operas, Banadietrich, was completed in 1909 and first staged at the
Hoftheater in Karlsruhe on 23rd January 1910.
Banadietrich is derived from one of the earliest German poems, the ninth century Hildebrandlied, which
deals with events of the sixth century, the time of the migration of peoples and of wars
and conquests, great deeds and suffering. It tells of Hildebrand, comrade in
arms of Dietrich of Bern and father of Hadubrand. With him, who belonged to the army of Odoaker, he
must fight in single combat and
Hadubrand spoke to him as follows:
Our people tell me this,
old and wise, who lived before,
that Hildebrand was the name of my
father,
my name is Hadubrand.
Formerly he went towards the East,
he flew before the hatred of Odoaker
with Dietrich
with many of his warriors.
He left living in the country his
family,
his young wife at home, the child
still ungrown,
without inheritance: he rode away
towards the East.
Then began for Dietrich the
privations
of my father: he was a man without
friends.
He was angry beyond measure with
Odoaker,
the dearest of the warriors with
Dietrich.
He was always at the head of the war
horde,
battle was always dear to him.
Hadubrand's speech serves as a prologue to Siegfried Wagner's opera. Hildebrand is a follower of
Dietrich, who, allied with King Etzel (Attila), fights against the King of the Goths,
Ermenrich (Ermanarich). The substitution of Odaker for Ermenrich is one of the
saga variants. Dietrich of Bern, however, is historically known as King Theodoric
the Great, who conquered the North of Italy in the sixth century. Saga tradition has created from
Theodoric the hero Dietrich
of Bern, with whom a number of other traditions have come to be associated. Bern itself has been variously
identified as Verona, Berne or Bonn, as the saga moved north, bringing
association with Siegfried and the Nibelungen, and its contradictory Christian interpretations.
Siegfried Wagner's Dietrich, heathen in origin, as in the relationship
with the nature-creature Schwanweiß
(Swan-White), is tempted by Satan, the Anti-Christ. There are some historical
elements, such as the mention of the Rabenschlacht, Theodoric's battle with Odoaker at Ravenna, or the figure of the King of the Huns, Etzel, with whom,
certainly, Theodoric was never directly allied, and of Ermenrich. From the
sagas and fairy-tales come mentions of the King of the Dwarves, Laurin, and his
rose-garden, the rocks of the Dolomites, of Wieland the Smith, of sin and
excommunication and the resulting motif of the Wild Huntsman or Siegfried Wagner's
introduction of a love-story of Dietrich and the Water Maiden, Swan-White.
The swan-motif, familiar from Wieland der Schmied, Lohengrin and Parsifal and
the preoccupations of Ludwig II of Bavaria, found a later place in Siegfried Wagner's Schwarzschwanenreich
(The Kingdom
of the Black
Swan).
The hero Banadietrich (banned from the Church) is found in traditional
folk-legend throughout German-speaking countries. In Orlagau, in the very heart
of Germany, the Wild Huntsman is
known as Berndietrich, while in Slav areas and in Bohemia he is known as Pan Dietrich or
Banadietrich. It seems that Siegfried Wagner drew on North Bohemian versions of the story, using the traditional figure to show a man
psychologically out of tune with his time, a reflection of his own disillusion.
The saga of Banadietrich tells of a knight of that name, pious and
virtuous, to
whom an
angel brought food and for whom the wind or the rays of the sun brought a coat. The Devil tempted
him, but in vain. In the end he resorted to trickery. There was a great holiday
and Banadietrich was praying in church. The Evil One took the guise of an
ugly old man and sat at the church door, with a goatskin in his hands; the
holiness of the place kept him from going into the church. At the Consecration, when
everything was quiet, the Devil bit into his goatskin, dragged on it, let it
go and banged with his head on the church door. There was great alarm and
Banadietrich turned round in indignation to see who was disturbing the ceremony
in such a way. Then he saw the old man, who was tearing at the goatskin in
his mouth again and banging with his head on the church door. At this sight
Banadietrich lost all his seriousness, and could not help laughing. His laughter gave
offence, since the prayers of the whole congregation were disrupted. The
Devil had won.
Banadietrich prayed no more and visited no church, gave no alms and abandoned his virtuous course of
life. Instead of going to Mass, he lived in the woods and desert places, and soon
found such pleasure in hunting that he was often away from his castle for the
whole day. One Sunday, when the bells of the village church were calling the
people, he rode out on his horse to a deserted place, like a storm-wind. There a great voice from
Heaven called him: "Banadietrich,
Banadietrich! How long will you go on hunting?". The knight trembled and called out: As long as
God will!" "Then you shall hunt till the last day!", replied the voice. The
Wild Huntsman still hunts through the woods, when the moon is new, and the sound
of his hounds and of the beat of his horse's hooves can be heard, with the hunting-horn and the
huntsman's halloos, although he is
never seen.
SYNOPSIS
CD l
[1] Prelude
Act I
[2] Scene 1
Battle rages and Dietrich questions Raunerath how matters stand (Wie steht der Kampf?), for the situation is now
desperate. He asks where Dietleib is, while Wittich has deserted, now in league with the hated
Ermenrich. The
cunning of
Laurin helped there, but what use his ailing strength: he should have died. Turning to Swan-White,
who has come out, he tells her to go back into her room, but she wants to share his suffering (Dein
Leid zu teilen, willst Du mir whren?). He tells her to go, for if he
falls, she will fall prey to his enemies. He asks Raunerath if he can see Hildebrand, but Raunerath cannot, and then asks if the sons of
Etzel are safe; they have followed their father, who did not restrain them,
giving way to their pleading. A cry of victory is heard, voices hailing Ermenrich (Heil!
Ermenrich, Heil!):now Dietrich's star has waned. Dietrich seeks help from Raunerath, some
trick, some means of triumph,
for God seems to have deserted him, taking his sword from his hand, or was it the
power of Satan? Raunerath suggests one means (Es gibt ein Mittel), and asks Dietrich
what he holds most dear. There can be but one answer, swan-White. Raunerath assures him of victory, if he leaves her, since she
brings bad luck: everyone knows this, since she is a water-maiden and must go as she came, sent by
wicked fairies. Dietrich tells
Raunerath that swan-White saved him, when, with his booty, he sank in the marsh (Gerettet
hat sie mich): she would have escaped, but he held her and promised her his love. Raunerath recognises the trick, an old one (Die
Scherzchen kenn ich!), but Dietrich should think of Etzel’s promise of his own daughter and the
inheritance of his kingdom. Swan-White calls out to the king, for there is bad news.
Dietleib announces danger, for Hildebrand has fallen and with him the sons of Etzel. That, adds Raunerath,
will cost Etzel's favour. Dietrich praises the fallen Hildebrand, whose
strength has now joined the sea of death: nothing now is left, but defiance. Raunerath tells
the women to fly (Flieht!
Frauen! Tod oder Schmach!), for it is either death or shame: new armies are coming from the North to
join Ermenrich, to murder and to burn. Dietrich longs for his sword, but now the huts are aflame and the enemy is attacking the castle. In
desperation Dietrich calls on the powers of Hell and offers to them the dearest
thing to him on earth (Euch Hollenmachten weih'ich mich). There is a cry that
Wittich is taken prisoner, as the battle turns. Now Raunerath can hail Dietrich as the victor, so soon has the poison worked, quicker than
he ever imagined.
[3] Scene 2
Dietleib salutes Dietrich, bringing his sword,
that he took from the enemy. He could have killed his enemy, Wittich, now a prisoner, but thought otherwise, since alliance of the two
heroes, hate set aside, would be better. Dietleib's word should stand (SolI
uns Dietleib's Wort nicht gelten?) and Dietrich bids Wittich look up,
true-false friend, the past forgotten and the shame of triumph lost: he sets him
free and welcomes him as friend and helper again, giving his pledge and hand. Dietleib and his
men praise the
day that
Wittich became reconciled (Heil dem Tage, der Wittich uns versohnte!) and salute Dietrich,
joined by the women. The men swear loyalty , as comrades in arms, and Dietrich bids them carry
the bodies of the dead
heroes into the minster, where their death can be mourned better than the death of a king.
[4] Scene 3
Raunerath now rails at the house of ill-fortune, the castle that
harbours disaster (O Ungluckshaus! Unheilbergende
Burg!),
for Dietrich has broken his heart to achieve glory, sacrificing his own wife (O weh! Sein eig'nes Weib opfert er hin!). Turning to Wittich, he
sees Swan-White coming and tells him
to comfort her.
[5] Scene 4
Swan-White, mistaking Wittich for her husband, offers him her praise (Dietrich! War ich die Letzte,
Dich zu preisenl). Wittich reveals himself, now tied by the bonds of friendship and
reconciled. In pity he reveals to her the source of Dietrich's victory, not his courage, not his
sword, but a
sacrifice of
the thing dearest to him, his wife. He tells her to make her escape, since she has been betrayed:
he offers himself to her (So opf’re ich mich Dir! Dein ist mein
Leben! Dein mein Mut!) and will be her protector.
[6] Scene 5
Raunerath now shows Dietrich the loving couple (Sieh welch'verliebtes
Parchen!) and Dietrich challenges Wittich with his treachery (Wittich
und Schwanweiß! Verrater, bist Du So mir treu?), but Wittich claims his
greater loyalty, wiping out Dietrich's shame. Swan-White tells Wittich to let
her go, but he asks now where is the justice of Heaven, for evil triumphs, calling
on her to take heart; now is the time for vengeance (Diese Wunde schwort Dir
Rachel). Dietrich calls on swan-White to defend herself, since he has
witnessed her treachery (Nun So sprich: Wir lauschen Dir!). She answers that
she would speak to Dietrich, but he is no longer Dietrich, but a stranger (Du
bist nicht Dietrich: ein Fremdes spricht aus Dir!). As Raunerath would go, she
turns on him, abusing him as a serpent (Schlange!): his advice is the cause
of her trouble, and she would speak to Dietrich. Raunerath suggests that she
would cast a spell on him (Da seht lhr's! Sie will ihn behexen!), since she
is a water-maiden. Dietrich remains silent, as Raunerath warns him again to
beware. Swan-White inveighs against Dietrich, now so changed: if he ever comes
to his senses two figures will come to him, one bringing news of her loyalty,
the other gnawing at his heart, called remorse: she bids him be happy in his
triumph.
[7] The
sound of religious chant is heard, voices singing Audi nos Christe: Hear
us, Christ, creator of the world! Hail blessed cross! Through you death is
conquered! Holy cross, symbol of our life! You will summon friends and enemies
of the cross, Jesu! Son of God! Be mindful of me! Hear us, Christ! Hear us,
Lord!
Scene 6
Now everything has gone according to Raunerath's plan (Bis hierher war'alles
recht niedlich gegluckt). The choir continues, while Raunerath rejoices in
his success: once Dietrich was a good Christian, chosen by God, it seemed, fed
by an angel, a model of piety (So frommlich war einst Dieser Dietrich!):
but now all his piety is for nothing, since the Devil sees through him, his
praying, kneeling and fasting a burden: he will prove it, with a goat-skin at
hand now for the dance.
[8] Scene 7
Dietrich bursts into laughter, to the anger of the priest, who asks him
the reason (Konigl Wie? Du lachst? Grauen erfullt uns!) for this
desecration of the solemn ceremony. Dietrich asks if he did not see the
creature hopping (Sahst Vu es nicht, wie's lustig hupfte?). The priest
is angry at this apparent contempt, for Dietrich here is a servant (Venn
Knecht bist Vu, wie Alle hier!), a servant of God and through Him of the
priest: he must expiate his sin. Dietrich, however, will not obey and is now
excommunicated, banished from the society of the faithful.
[9] Scene 8
Dietleib calls for help for Dietrich, against an attack of the hordes
from the North (Haßhungrig scheuchen die Horden Vein Volk von Norden!),
with Etzel eager for vengeance for the death of his sons. Dietrich tells
Dietleib to make his own escape, for he can offer him no protection (Geh,
Guter! Keines Schutzes bedarf ich!): he is no longer Dietrich, but is
cursed, a companion of Satan.
[10] Scene 9
Raunerath hurries to him, bidding him wrap himself in his cloak, to make
his escape invisible. Etzel bids him stand, murderer of his children (Steh! Morder
meiner Kinder!), but can see no-one, when Dietrich addresses him, taunting
and challenging him, telling Etzel that when he can see him, then he can take
him prisoner. He mounts on the back of a dragon, letting his cloak fall, and
again challenging Etzel to catch him (Jetzt faßt mich!)
Act II
[11] Scene 1
The scene is one of pastoral serenity. Ute thanks a shepherd for his
playing and tells him that the young woman staying in her house has been very pleased
by the sound of his flocks.
[12] Scene 2
A boy and a girl tell Ute that Dietleib has come, her son. They
greet each other and she asks him what has happened in the war (Wie war's im
Krieg?): is there no greeting from Dietrich? He tells her that all is lost,
the castle destroyed, the land laid waste (Die Burg zerstort, das Land
verheert), with the enemy seeking plunder: Dietrich lives in the forest,
constantly at the hunt, shunned by all and known now as Banadietrich: his
hunting-horn is heard now here, now there, and woe on any that come in his way.
The boy and girl seem to have heard something of the kind even now, but Ute
re-assures them. In reply to his questioning, she tells him that she has in the
house a sick man and with him his dear wife: they had come to her seeking shelter
and healing, but would give no name: the woman, with her flowing dress and
silvery voice reminds her of a water-spirit. Dietleib wants to see them, guessing
their identity.
[13] Scene 3
Now Dietleib meets the woman, swan-White, as he had supposed. She asks
him if he is seeking Wittich (Dietleib! Du hier? Suchst Du Wittich?) and
if now he is angry with her. He wishes he could lie or that her heart were as
her words and that she were not as guilty as she now appears, and as any fool
can see. She tells him that she has nursed Wittich who will recover only when
he abjures revenge against Dietrich. Dietleib considers that they are guilty
and revenge should be for Dietrich to exact, but swan- White tells him of the
wrong Dietrich has done, and yet he is not bad (Unrecht! Bitterstes Unrecht!
Und doch: Dietrich ist nicht schlecht!) and she cannot hate him. Wittich,
she goes on, loves her, but she cannot love him: he, however, still has that
symbol of vengeance, Balmung, Dietrich's sword. She wishes someone would
secretly take the sword from him and take it to Dietrich.
This Dietleib will do.
[14] Scene 4
Ute now welcomes Flederwisch and he, Magister Flederwisch, returns her greeting
(Gruß Gott, guten Tag, Du braves Weib) and suggests they should sit down
and have a chat. She tells him it a long time since he came to her house and
asks if his foot is still giving trouble, but he has not come for that, rather
to find out about the couple staying in her house, of whom he has suspicions:
he knows that the couple are Wittich, whom Dietrich's wife captivated, and
Swan-White, both of them banished in disgrace: he will show Ute what kind of
people she has in her house, and he knocks at the door.
[15] Scene 5
Flederwisch, doctor doctissimus, introduces himself to
Swan-White, who asks him at once if he knows Raunerath. Unfortunately not, he
tells her, for Raunerath is a wise man, just like him. Just like him,
Swan-White rejoins (Ganz wie Vu!), a little bent, limping. Flederwisch
has come to offer help to Wittich, bringing with him a wonderful healing
mixture. He offers the bottle to Swan-White and from it a snake suddenly darts:
he hands her another, and from it spurts a flame. Ironically she thanks him for
his kindness and bids him tell his cousin Raunerath to put his magic to better use,
since Swan-White is well aware of Voland's jokes: was it not enough to destroy
her happiness? Ute interrupts and recognises Voland as the name of the Devil.
CD2
[1] Scene 6
Wittich calls on the sun to shine on him and free him from suffering (Sonne!
Heiliger Himmelsglanz!): without the sun all would be darkness and eternal night.
He sees Swan-White as the light that takes away the pain of his wounds, yet
perhaps this is all an illusion: she is kind and good and yet cold. He calls on
Swan-White to hear him and pity his suffering. She reminds him of her wish, but
he asks if he then is to forego vengeance and not protect her innocence. She
wants Dietrich to believe her innocent, and now he does not, but Wittich tells
her that she was sacrificed on a cowardly pretext, simply to win victory .She
does not want to listen, but he insists that this is a matter for vengeance and
pleads further with her.
They are interrupted, as Ute asks Dietleib, who has burst in, what he wants,
but he seizes the sword from Wittich and hurries away. Ute tells Wittich that
Dietleib has taken his sword, but Wittich still promises vengeance for
swan-White, and follows after Dietleib, leaving swan-White to lament his broken
oath, for now his wounds must bleed again.
[2] Scene 7
Ute asks swan-White to whom the sword belongs (Sonderbar! Wem gehorte
nun eigentlich das Schwert?), and is told it is swan-White's husband's. Ute
now asks whether swan-White has another husband, since she must know the truth:
she had promised her dying husband to keep the honour of their house and she
would not keep an unmarried couple in her house.
Swan-White tells Ute to go and comfort her husband in the grave: let his
house be pure, as before. If her father had not given way to her pleading, her
fate would have been different, but now, in return for brief happiness she has
only pain and grief. Now she bids farewell to flowers and trees, since her sweet
dream is at an end. Ute was good to her and has her blessing and a golden
reward.
Gold, exclaims Ute, but the boy and girl tell her to go into the house,
as thunder is heard. Ute calls for help, the young people ask if that is gold, and
she tells them it is nothing but gold. The boy tells her it is only leaves, and
the laughter of the Devil is heard, as Ute curses her own foolishness.
Act III
[3] Prelude: The Wild Hunt
[4] Scene 1
In the forest a fairy calls for help from Banadietrich, who now claims
one as his own. The spirit calls shame on him, for he has a most beautiful wife
at home. Dietrich threatens to make the fairy pay for insolence.
[5] Scene 2
Dietleib greets Dietrich, who tells this ghost to be gone, before
recognising Dietleib, who calls on him to take his sword and save his people.
Dietrich asks if they have forgotten the curse, but Dietleib tells him that his
foolish laughter can be forgiven. Dietrich, however, thinks there can be no forgiveness
for the betrayal of a loving heart: this only Swan-White can forgive: if
Swan-White were ten times untrue, his guilt was the worse. Dietleib tells him
that Swan-White has forgiven him and it is now not too late: he can find her
again and banish the Devil: reign again as king of his people. Dietrich bids
him be quiet, with his own inner anger against his own thirst for glory: should
he then bow the knee to Dietleib, repent: does he know so little of Dietrich?
His sword may be Dietleib's and when he uses it he may think of Dietrich, for
perhaps it will bring luck.
[6] Scene 3
Wittich now appears, cursing the thief and seeking the sword (Verfluchter
Dieb! Bin ich Dir auf der Spur). Dietrich reproaches his villainous ardour:
surely it is Dietrich who should seek vengeance against the one who had treated
his wife so lasciviously. Wittich replies claiming rather love and pity for
Swan-White than any such attempt against her honour. Dietrich, though, tells
him there is only one before whom he must beg forgiveness, and she has already
forgiven him. Wittich challenges him, but then asks who it is that stands with
him, the horseman behind him, with his head under his arm: his horse with three
hoofs. Dietrich calls on Wittich to stand (Wittich! Nie flohst Du je! Halt
ein!), as the latter rushes headlong to the water, sinking, as Dietrich
sees the deep open and an arm raised to hold him, and the neck, white like a
swan's. He imagines another trick, but can it be that Wittich now has his
reward, while Dietrich must remain?
[7] Scene 4
The Devil calls on Dietrich to stop, introducing himself as a good
friend, now come to claim Dietrich for his base ingratitude: who helped him against
Etzel or against Ermenrich, or what of the dragon that rescued him? Dietrich
reminds the Devil of what he himself lost. The sound of Death is heard and the
Devil tells him that Death is hoarse and can only croak and bleat, but he
intends to take Dietrich, who asks if this is now the evening of life, yet he
has seen death in battle, a death that he loves: on the stormy sea a ship is tossed,
while the helmsman hears sounds of delight like the beating of swans' wings:
this is the death of Dietrich, not the wretched skeleton, with hour-glass and
scythe. He tells Death to be off and strikes him. The Devil fears for his own
safety before such a human being, addressing him now as a bastardly mocker,
scorner of Death, with no fear of the last judgement or the trump of doom.
Dietrich only laughs, asking what the greatest sin is: once he was happy and
honoured, before the Devil came and now he is cursed and will enjoy this,
without repenting. The Devil asks him if he is not afraid, but Dietrich has no
dread, either of the Devil or of Death, seeking an answer to his question. The
Devil asks him if he sees there a beautiful little flower (Siehst Du dart
das Blumelein, lieblich und fein?), opening in the morning dew: to crush it
under foot would be the greatest sin.
[8] Scene 5
Dietrich
sees the Devil limp away, but he is right (Er hinkt bad und hat recht). Now
he wonders that he has for so long not seen the flowers, sensed the sweet
scent: he hears the cry of a flower that he has killed, and so another flower
once looked at him, eyes red with weeping: the flower should laugh if he
tramples on it, brief pain instead of long suffering. The flower cries in anguish
and the voice of the Lord is heard, asking Dietrich if he is sorry for his
deed. No, cries Dietrich, and again the voice asks its question. Dietrich remains
obdurate and is condemned to eternal pain, in the wild hunt (So sei
verdammt zur ew’ gen Pein). Swan-White calls on Bandadietrich to repent, and
he answers her: what neither man nor Satan nor God could accomplish a wife’s
prayer has brought about. Swan-White and the Water-Maidens welcome him into
their company, away from air and earth among the waves and in peace, awakening
him to a new life.