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 dénouement
now hastens, and Lohengrin disappears, to the accompaniment of the
Grail motive.