relates the vision of the knight who is to come to her assistance.  The summons of the heralds preludes the climax of the act.  Amid natural outcries of popular wonderment Lohengrin appears, and, as he leaves his boat, bids farewell to his swan in a strain of delicate beauty ("Nun sei gedankt, mein lieber Schwan").  The preparations for the combat are made, but before it begins, the motive of warning is sounded by Lohengrin ("Nie sollst du mich befragen").  The finale of the act takes the form of a powerful ensemble, composed of sextet and chorus, and beginning with the prayer of the King, “Mein Herr und Gott, nun ruf ich Dich.”

The second act opens upon a night scene near the palace, which is merry with the wedding festivities, while the discomfited Telramund and Ortrud are plotting their conspiracy without in a long duet ("Erhebe dich, Genossin meiner Schmach"), which introduces new motives of hatred and revenge, as opposed to the Grail motive.  In the second scene Elsa appears upon the balcony and sings a love-song ("Euch Lueften, die mein Klagen"), whose tenderness and confidence are in marked contrast with the doubts sown in her mind by Ortrud before the scene closes.  The third scene is preluded with descriptive sunrise music by the orchestra, followed by the herald’s proclamations, interspersed by choral responses, leading up to the bridal-procession music as the train moves on from the palace to the cathedral, accompanied by a stately march and choral strains, and all the artistic surroundings of a beautiful stage pageant.  The progress is twice interrupted; first by Ortrud, who asserts her precedence, and second by Telramund, who, in the scena “Den dort im Glanz,” accuses Lohengrin of sorcery.  When Elsa still expresses her faith, the train moves on, and reaches its destination amid the acclamations of the chorus ("Heil, Elsa von Brabant!").

The third act opens in the bridal chamber with the graceful bridal song by Elsa’s ladies, “Treulich gefuhrt, ziehet dahin,” whose melodious strains have accompanied many unions, the world over, besides those of Elsa and Lohengrin.  The second scene is an exquisite picture of the mutual outpouring of love, at first full of beauty and tenderness, but gradually darkening as Ortrud’s insinuations produce their effect in Elsa’s mind.  Tenderly Lohengrin appeals to her, but in vain; and at last the motive of warning is heard.  The fatal questions are asked, the tragedy of Telramund follows, and all is over.  The last scene introduces us once more to the meadow on the Scheldt, where Lohengrin appears before the King and his vassals.  In their presence he reveals himself as the son of Parsifal, in a scena of consummate power ("In fernem Land, unnahbar euren Schritten"), wherein the Grail motive reaches its fullest development.  It is followed by his touching farewell, “O Elsa! nur ein Jahr an deiner Seite,” the melody of which can hardly be surpassed in dignity and impressiveness.  The denouement now hastens, and Lohengrin disappears, to the accompaniment of the Grail motive.