Lohengrin, WWV 75, is a Romantic opera in three acts composed and written by Richard Wagner, first performed in 1850. The story of the eponymous character is taken from medieval German romance, notably the Parzival of Wolfram von Eschenbach, and its sequel Lohengrin, itself inspired by the epic of Garin le Loherain. It is part of the Knight of the Swan legend. The opera has inspired other works of art. King Ludwig II of Bavaria named his castle Neuschwanstein Castle after the Swan Knight. It was King Ludwig's patronage that later gave Wagner the means and opportunity to complete, build a theatre for, and stage his epic cycle Der Ring des Nibelungen. He had discontinued composing it at the end of Act II of Siegfried, the third of the Ring tetralogy, to create his radical chromatic masterpiece of the late 1850s, Tristan und Isolde, and his lyrical comic opera of the mid-1860s, Die Meistersinger von Nürnberg. The most popular and recognizable part of the opera is the Bridal Chorus, colloquially known in English-speaking countries as "Here Comes the Bride," usually played as a processional at weddings. The orchestral preludes to Acts I and III are also frequently performed separately as concert pieces. Literary background The literary figure of Lohengrin first appeared as a supporting character in the final chapter of the medieval epic poem Parzival of Wolfram von Eschenbach. The Grail Knight Lohengrin, son of the Grail King Parzival, is sent to the duchess of Brabant to defend her. His protection comes under the condition that she must never ask his name. If she violates this requirement, he will be forced to leave her. Wagner took up these characters and set the "forbidden question" theme at the core of a story which makes contrasts between the godly and the mundane, and between Early Middle Age Christendom and Germanic paganism. Wagner attempted at the same time to weave elements of Greek tragedy into the plot. He wrote the following in Mitteilungen an meine Freunde about his Lohengrin plans:Who doesn't know "Zeus and Semele"? The god is in love with a human woman and approaches her in human form. The lover finds that she cannot recognize the god in this form, and demands that he should make the real sensual form of his being known. Zeus knows that she would be destroyed by the sight of his real self. He suffers in