After a prelude by the orchestra the curtain rose and discovered Abraham and Isaac in loving discourse, with figures in the background, admirably costumed and grouped. An angel in white robe and blue mantle appears and delivers his heavenly message to the astounded Abraham. His agony was simply and feelingly depicted. He appears at last resigned, when Sarah, in red robe and Eastern headdress, enters to renew his grief. The beauty of this woman was of the highest order in feature and expression, and her dress was truly artistic. The scene between these two was most touchingly acted. Isaac reappears, thinking that he is simply going on a journey, and, scarcely comprehending his mother's great grief, presents his companion to her as a comfort and stay, thus prefiguring John and Mary at the cross. Abraham and Isaac depart, and the curtain falls.
Then another prelude by the orchestra, and the Chorus appears: the leader delivers the epilogue. They divide and kneel, and the curtain rises on the tableau of the scene in Gethsemane.
Christ, on an elevation, is kneeling: an angel stands in front of him. Below, the apostles are all asleep in groups. Behind, in the centre, Judas advances with the soldiers, who bear tall lanterns. It was like a picture of Carpaccio, and worthy of that great master. This tableau lasted two and a quarter minutes, during which time the tenor sang an aria.
The fifth part--_Es ist vollbracht_ (It is fulfilled)--represents Abraham going out to sacrifice his son, prefiguring the Crucifixion. The curtain rises on Sarah, full of agony, which is most simply and powerfully depicted. Attendants enter, who tell a long story: then Abraham and Isaac appear, and there is a most striking scene--Sarah fainting, the friend sustaining her, the others grouped around in various picturesque attitudes. An angel appears, simple and practical, like those of the good old painters, and delivers the blessing. The curtain falls.
Again the orchestra in a superb prelude: then the Chorus appears, and, after the epilogue, divides and kneels as the curtain rises on a tableau which my imagination never could have pictured, for its wonderful completeness, its power, its feeling, its artistic beauty and its marvelous expression far exceeded any idea that I had of the power of men and women to represent such a picture--the Crucifixion.