Tannhäuser (Maclennan), Elizabeth (Fornia), Wolfram (Dean)
The _Landgrave_, feeling sure that _Tannhäuser_ will win the prize at the contest of song soon to be held, offers the hand of his niece to the winner. The minnesingers sing tamely of the beauty of virtuous love, but _Tannhäuser_, suddenly remembering the seductive and magical beauties of the Venusberg, cannot control himself, and bursts out into a reckless hymn in praise of _Venus_. Horrified at his words, the knights draw their swords and would slay him, but _Elizabeth_ throws herself between him and them. Crushed and penitent, _Tannhäuser_ stands behind her, and the _Landgrave_, moved by her willingness to sacrifice herself for her sinful lover, announces that he will be allowed to join a second band of pilgrims who are going to Rome and to plead with the Pope for forgiveness.
_Elizabeth_ prayerfully awaits his return; but, as she is kneeling by the crucifix in front of the Wartburg, the _Pilgrims_ pass her by and in the band she does not see her lover. Slowly and sadly she returns to the castle to die. When the _Pilgrims'_ voices have died away, and _Elizabeth_ has returned to the castle, leaving only _Wolfram_, who is also deeply enamoured of her, upon the scene, _Tannhäuser_ appears, weary and dejected. He has sought to obtain forgiveness in vain. The Pope has cast him out forever, proclaiming that no more than that his staff can put forth leaves can he expect forgiveness. He has come back to re-enter the Venusberg. _Wolfram_ seeks to restrain him, but it is not until he invokes the name of _Elizabeth_ that _Tannhäuser_ is saved. A cortège approaches, and, as _Tannhäuser_ recognizes the form of _Elizabeth_ on the bier, he sinks down on her coffin and dies. Just then the second band of pilgrims arrive, bearing _Tannhäuser's_ staff, which has put forth blossoms, thus showing that his sins have been forgiven.
From "The Flying Dutchman" to "Tannhäuser," dramatically and musically, is, if anything, a greater stride than from "Rienzi" to "The Flying Dutchman." In each of his successive works Wagner demonstrates greater and deeper powers as a dramatic poet and composer. True it is that in nearly every one of them woman appears as the redeeming angel of sinful man, but the circumstances differ so that this beautiful tribute always interests us anew.