Eugene d'Albert, though English by birth, has for
so long identified himself with Germany, that the success of his comic
opera, 'Die Abreise' (1898), may most suitably be recorded here. His
more ambitious works have been less favourably received. Siegfried
Wagner, in spite of his parentage, seems to have founded his style
principally upon that of Humperdinck. His first opera, 'Der Baerenhaeuter'
(1899), was fairly successful, principally owing to a fantastic and
semi-comic libretto. 'Herzog Wildfang' (1901) and 'Der Kobold' (1904)
failed completely, nor does his latest work, 'Bruder Lustig' (1905),
raise very sanguine hopes as to its young composer's future career.
Another follower of Humperdinck is Eduard Poldini, whose clever and
charming 'Der Vagabund und die Prinzessin,' a graceful version of one of
Hans Andersen's stories, was given in London with success in 1906.
Mention must also be made of Felix Weingartner, whose 'Genesius' (1892)
and 'Orestes' (1902) are said to contain much fine music; of August
Bungert, whose trilogy founded upon the Odyssey has been received with
favour in Dresden, though it does not appear to have made much way
elsewhere; and of Hans Pfitzner, whose 'Rose von Liebesgarten' (1901) is
one of the most promising operas of the younger generation.
The most important figure in the world of German opera to-day is
unquestionably that of Richard Strauss.
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