‘Lohengrin’ (1850) was the first of Wagner’s operas which won general acceptance, and still remains the most popular.  The story lacks the deep human interest of ‘Tannhaeuser,’ but it has both power and picturesqueness, while the prominence of the love-interest, which in the earlier work is thrust into the background, is sufficient to explain the preference given to it.  Elsa of Brabant is charged by Frederick of Telramund, at the instigation of his wife Ortrud, with the murder of her brother Godfrey, who has disappeared.  King Henry the Fowler, who is judging the case, allows Elsa a champion; but the signal trumpets have sounded twice, and no one comes forward to do battle on her behalf.  Suddenly there appears, in a distant bend of the river Scheldt, a boat drawn by a swan, in which is standing a knight clad in silver armour.  Amidst the greatest excitement the knight gradually approaches, and finally disembarks beneath the shadow of the king’s oak.  He is accepted by Elsa as her champion and lover on the condition that she shall never attempt to ask his name.  If she should violate her promise, Lohengrin—­for it is he—­must return at once to his father’s kingdom.  Telramund is worsted in the fight, having no power to fight against Lohengrin’s sacred sword, and the act ends with rejoicings over the approaching marriage of Lohengrin and Elsa.

In the second act it is night; Telramund and Ortrud are crouching upon the steps of the Minster, opposite the palace, plotting revenge.  Suddenly Elsa steps out upon the balcony of the Kemenate, or women’s quarters, and breathes out the tale of her happiness to the breezes of night.  Ortrud accosts her with affected humility, and soon succeeds in establishing herself once more in the good graces of the credulous damsel.  She passes into the Kemenate with Elsa, first promising to use her magic powers so as to secure for ever for Elsa the love of her unknown lord.  Elsa rejects the offer with scorn, but it is evident that the suggestion has sown the first seeds of doubt in her foolish heart.  As the day dawns the nobles assemble at the Minster gate, and soon the long bridal procession begins to issue from the Kemenate.  But before Elsa has had time to set foot upon the Minster steps, Ortrud dashes forward and claims precedence, taunting the hapless bride with ignorance of her bridegroom’s name and rank.  Elsa has scarcely time to reply in passionate vindication of her love, when the King and Lohengrin approach from the Pallas, the quarters of the knights.  Lohengrin soothes the terror of his bride, and the procession starts once more.  Once more it is interrupted.  Telramund appears upon the threshold of the cathedral and publicly accuses Lohengrin of sorcery.  The King, however, will not harbour a suspicion of his spotless knight.  Telramund is thrust aside, though not before he has had time to whisper fresh doubts and suspicions to the shuddering Elsa, and the procession files slowly into the Minster.