If you went from the parish church up the former Ritter-von-Epp-Strasse toward the middle of the town of S. you passed the Ochsenwirt inn, where the Liedertafel, or singing society, met to perform every Saturday in the festive hall, which stood empty during the week. I remember that once, when everything was buried deep in snow, I was lured by the sounds, strange to me, coming from the Ochsenwirt into the soundless winter air, went into the hall, and there, all alone in the dim light, watched a rehearsal of the closing scene of the opera that, as I had already heard, was soon to be performed on the stage, which still dated from before the First World War and seemed to me miles away at that rehearsal.
I did not know what an opera was at the time, nor could I imagine what it might have to do with the three figures in costume and the shining dagger held first by Zweng the distiller and then by Gschwendtner the upholsterer, finally passing to the tobacconist Bella Unsinn, but I could tell from the despairing, intertwining voices that the scene unfolding before my eyes could only be a tragic one, even before Franz Gschwendtner took his own life, and Bella next moment sank unconscious to the ground.
And how surprised I was to see this tragic closing scene, which until then I had almost entirely forgotten, in a London cinema thirty years later, performed incredibly enough in almost identical costumes. Klaus Kinski, with his yellow hair standing out from his head as if electrified, stares out of the background of the stalls in the Teatro Amazonas of Manaus at the point when the action of the opera, set in the sixteenth century among Spanish grandees and mountain brigands, is just reaching the last of its many turns of fortune. Silva, wrapped in a black cloak, has handed the dagger to Hernani, played by Caruso in a kind of maternity smock. Hernani plunges it into his breast, rises heroically once more to the upper registers of song, and then falls sideways at the feet of the inconsolable Elvira, or rather Sarah Bernhardt, who shortly before, in an unprecedented bravura achievement, has come down the stone steps of the castle with her wooden leg.
Her face made up to look as white as a sheet, and clad in a rather shabby gray-blue lace dress, the actress looked exactly like Bella Unsinn thirty years earlier on the stage of the Ochsenwirt, while Enrico Caruso, who Fitzcarraldo believes pointed to him in the last moment of his life, looked with his broad-brimmed brigand’s hat, twirled mustache, and purple tights just like Gschwendtner the upholsterer as I remembered him.
The closing sequence of the film Fitzcarraldo also had special associations for me. Amid unspeakable difficulties, a path is cut through the jungle and the steamer is hauled by means of primitive winches over the mountain crest between the two rivers until finally, when the mad plan has been as good as realized, it rocks gently in the water again. On the night of the festivities, however, the Jívaros, wishing to take another route, cut the cable and the steamer goes racing out of control down to the valley, between the rocky walls of the Pongo des Muertas. Fitzcarraldo and his Dutch captain see nothing but disaster coming, while the Jívaros, gathered on deck, merely look ahead in silence, believing that it is not far now to the better country they long for.
And in fact the ship does miraculously escape the cataracts of death. Somewhat battered and out of shape, but with the elegance of a prima donna, it moves out of the dark jungle in a great arc on the river, which is radiant with bright light. This is the hour of salvation in which — another miracle — news comes of the arrival in Manaus of an Italian company with an opera by Bellini, and here they come in several boats, to climb aboard and begin to play and sing. Behind the Puritans’ pointed hats rises the cardboard backdrop of the mountains, which the libretto assures us are near Southampton. Chubby-cheeked Indians blow the French horn more beautifully than angels, and Rodolfo and the crazed Elvira, who has regained her reason now that the plot has taken a happy turn, unite their voices in a duet raised by the separation of their bodies to a state of pure bliss, ending with the words Benedici a tanto amore. All this time the ship of fools is drifting down the silvery river, so Fitzcarraldo’s dream of an opera in the middle of the wilderness at last comes true. He himself stands leaning on a red theater seat smoking an enormous cigar, listening to the wonderful music and feeling the slight breeze of their passage on his brow.
I encountered I Puritani for the first time at the age of twenty-two, in the house of a colleague who was a Bellini enthusiast and lived on Fairfield Avenue in Manchester, not far from Palatine Road, where the young engineering student Ludwig Wittgenstein stayed in 1908. It was a day as fine as another more than twenty years later, when I was sitting in my garden with a bad headache after finishing a work about torture that had occupied me for some time, and I heard the same opera again through the open window, broadcast from Bregenz. I still remember my sensations as the painkillers gradually began to work, and I felt the music of Bellini mingling with their analgesic effect like a relief and a blessing. I could hardly take in the fact that in addition it came through the summery blue of the ether from Bregenz, for the Bregenz Festival was inextricably bound up in my memory with the Singspiel Zar und Zimmermann, always performed in the lakeside theater there year after year without fail.
The Bregenz Festival and the clog dance had been one and the same thing in my mind as far back as I can remember. If you went from S. to Bregenz on the Alpenvogel bus, you were going there to see the clog dance. The clog dance, along with various pieces by the composer Flotow and the famous aria from the Evangelimann, used to be the music that always came top in the Sunday request concert broadcast every Sunday by Bavarian Radio; we regularly listened to it at home after the children’s program. Nothing could compete, except perhaps the Don Cossacks and the Soldier on the Banks of the Volga, or the chorus of captives from Nabucco.
I could not really account for the nature of this potpourri at the time, but today it seems to me that these dubious German preferences had something to do with the time when the sons of the fatherland were sent east. So dazzlingly bright were the vast Ukrainian fields of grain, I read not long ago, that many of the German soldiers who passed through them in the summer of 1942 wore sunglasses or snow goggles to avoid damaging their eyes. When the 16th Panzer Division reached the Volga at Rynok north of Stalingrad on August 23 as the light was fading, they saw beyond the opposite bank a country of deep green woods and fields apparently stretching away to infinity. Some of them, we know, dreamed of settling here after the war; others may have sensed already that they would never return from that distant land.
Teure Heimat, wann seh’ ich dick wieder (“Dear homeland, when shall I see you again?”) runs the opening of the German version of the chorus “Va pensiero,” and in a way it was code for the vague feeling, never to be uttered aloud, that the Germans were the real victims of the war. Only in the aftermath of the so-called reparations did anyone think of giving the Hebrews their own rights and, for instance in a production of Nabucco at Bregenz in the mid-nineties, making the anonymous slaves into real Jews in striped uniforms. Soon after the beginning of that particular season I took part, as I still regret, in one of the events in the framework program of the festival, and in addition to my fee was given two tickets for the performance of Nabucco that evening. Holding these tickets, I stood undecided outside the theater until the last of the spectators had disappeared through the entrances: undecided because with every passing year I find it increasingly impossible to mingle with an audience; undecided because I did not want to see the chorus dressed in costume as concentration camp inmates; and undecided because I saw a storm coming up behind the Pfänder and unlike other visitors to the festival had not thought of bringing an umbrella. As I stood there a young lady came up to me, probably because I looked like someone let down by his companion, and asked whether by any chance I had a spare ticket. She had come a long way, she said, and was disappointed to find that there were no tickets available at the box office. When I gave her my two tickets and wished her a pleasant evening she thanked me, a little dismayed to find that I did not want to see the Bregenz performance of Nabucco with her, as she might well have expected.