Some thoughts:

"Thank you, Herr Major,"

I don't speak German, but doesn't Herr mean Mr.?  So he's calling Friedrich "Mr. Major?"

As I was reading I got the feeling that this chapter was lacking something.  I know it's just a prologue, but the ending seems very abrupt.  Maybe you could extend it a little bit to include the husband finding out what the letter says?

I also thought that the husband's frustration with the women seemed a little contrived.  I felt like he was at a wedding for stereotypes the way you described the women.  You might want to consider trying to make his displeasure obvious indirectly.  For example, instead of

"Vati found him for me on base. He's practically just out of training."  The way in which the women spoke made me feel like an expensive handbag in human form. An item to be flaunted in efforts to trump one another.

Maybe try,

"Vati found him for me on base. He's practically just out of training."  Her tone was the same as when she was crowing about her new handbag.

It has the same effect, but instead of directly stating the speaker's thoughts, it says it indirectly, and paints an image for the reader at the same time--the reader can picture her talking about her handbag earlier in the wedding.  And, instead of generalizing it to "all women," it's specific to that one lady, and it's implied that the rest of the women talk the same way.

I think the best advice I can give right now is to flesh this chapter out more.  Even though it's just a prologue, I think it could use a stronger plotline to grab the reader and more fully fleshed-out characters instead of the stereotypical hens at a wedding.  But besides that, I'll definitely be reading the next installment!

Nice work.  I'm definitely looking forward to reading more of this.   However, at the moment, I am confused.  Did Alaric not want to marry his wife?   Because there are more places where he seems like a bitter and hateful married man, rather than a happy newlywed.  Such as:

    "Thank you, Herr Major," I said without enthusiasm. "I am honored you think so highly of me."

and 

Or, perhaps, it was an opportunity for her to lift her dress. As the Gods knew, she would use any other excuse.

These two phrases, and the general tone of the piece suggest that he is marrying for something other than love, at any rate.  If that's what you were going for, then great!  But if he truly does love his wife, you may want to work on setting that tone here in the beginning as well.   That's really the main thing that jumped out at me.

Nice work!  It looks like you're conceiving the piece pretty thoroughly.  The characters are interesting, and you have a nice sense of developing the characters through dialogue -- that is, not everyone just sounds the same!

That being said, I was having a bit of difficulty placing myself in this piece.  Your character does some very, very old-fashioned things (aka, swearing "by the Gods") and yet certain aspects of the piece, like the trappings of the military wedding and the references to spying seem very modern.  The general impression that I got was sometime around WW2, but I'd like a few more concrete clues about that.

Also, there was not very much description in the piece.  I'm still not exactly sure what your characters look like, other than in general terms -- tall, blonde, fair, blue-eyed.  That's tough to visualize with any sense of the character being unique.  Maybe instead of giving me the general descriptions, give one or two distinctive details -- a weird scar? a limp? a bizarre hairdo? an unpleasant facial expression? a distinctive way of dressing?  Those kinds of details are incredibly helpful to the reader in seeing the action as it happens.

I guess my comment could be summed up as -- this sounds like a very interesting story, and I am definitely curious to know what goes on, but a lot of the fundamental details, such as setting, time, character, etc. need to be explained out more fully for me to be totally engaged in this piece.

Hi Karaya,

I read this piece twice. The second time I just focused on the dialogue (as if reading a script) and gained a better sense of what happened and why.

I admit I'm not a big fan of prologues in fiction. "Introductions" can be very effective, like they were in a fictional quote (see: Herbert's Dune or Ondaatje's The English Patient). But then again, an introduction is a paragraph, maybe two, that just a hint as to what is coming. Essentially, it's a tool to build suspense. "Prologues," on the other hand, are kind of an antiquated tool, reminiscent of ancient theater where a narrator steps up in front of the audience to explain a back story prior to the start of the plot. The only novel I can think of that's used prologue is "Lord of the Rings," which was written in the 1940s (and also happened to be a sequel).

This is all different from an opening scene of a movie. In screenwriting, you've got to capture your audience in the opening three-minute scene-- often which take place before the opening credits-- which establishes the setting and tone of the film. If you saw the film "Zodiac," you might remember that the movie opens with an unnamed man picking up a girl on a date-- they drive up to a "makeout" point-- someone parks behind them, comes up to their window... and shoots them. While this 3-minute scene serves as a "prologue/intro," it effectively mounts the suspense for the plot-to-come: "Mysterious killer loose in Bay Area during the late 1960s."

Having said all that, I didn't get a sense of what the events in this particular prologue were contributing to the plot. Don't get me wrong-- I'm sure they're important-- but the purpose of any "opening scene" is to establish setting and tone. There are a lot of characters introduced: Freidrich Baumann (aka Herr Major), Anneliese (aka Anne, aka "my wife"), Greta (aka Frau Baumann), Alaric (aka Schatz), Vati, and 'another woman.' In two pages, that's a lot for the reader to keep track of.

Mechanically speaking, the dialogue and action might work if we were watching this on-screen. But because we don't get a sense of character, setting, or tone, we don't really know who to pay attention to. Things are happening, but I couldn't place any image in my head of what was going on. Still, from a plot perspective, I don't feel mounting tension toward a tangible plot that I'd like to have gained after reading a prologue/introduction. It might help to cut down a lot of the dialogue that doesn't specifically contribute to the forward progress of the plot.

Getting more to the nitty-gritty:

Anneliese had been latched onto the crook of my arm since she walked, and I ducked, through the line of daggers several hours earlier.

Not sure what happened, or what you mean here.

Also, "Anneliese/Anne" should not be interchanged... at least not now. Generally speaking, you're not supposed to interchange "Anne" for "Annie" for "AJ" or whatever the nicknames/petnames, simply because it can confuse the reader. (The same goes for "Greta/Frau Baumann, Friedrich Baumann/Major, Alaric/Schatz, etc.) It's acceptable for screenwriting (since you can see each character on-screen), but typically not in fiction.

How she found any humor in the statement, I did not know, but I supposed my sense of humor was simply different from a woman's.

This thought doesn't really sound like a man. At least not a masculine one.

The Italian edge to her voice grated on my ears and I did not immediately recognize her.

This discusses the reader's hearing (edge to her voice) and sight (recognize her) in the same sentence. It may be clearer if you separate one sensation per sentence.

The way in which the women spoke made me feel like an expensive handbag in human form. An item to be flaunted in efforts to trump one another.

I get the thought, but it doesn't sound natural to me, especially not for a male character.

Anneliese's dark blue eyes looked up at me for the first time since the wedding ceremony.

That's a strange thought...

crane her neck nearly all the way back, a few sandy strands of hair still managed to obstruct her view.

This sounds too techy, like stage/camera directions. I know you probably visualize it in your mind, but the words "crane" "all the way back" "strands of hair...obstruct" aren't very appealing words, on the page or by the way they sound aloud.

I paid my respects to the family and followed my wife to a distant end of her father's house, her hand moving from my arm to my own hand.

If there's a long distance to move physically, it should do so on the page. This action jumps from one room to another in a matter of a few words. Maybe insert a few thoughts here so some time passes before arriving in the next room.

I found this gesture extremely unsettling, but I continued to appease her as long as we were among her family.

A little "explainy."

"I checked your letters before we left your house," Anneliese explained, lifting her dress momentarily to pull an envelope from the security of her garter. The envelope was folded, but not in bad shape. I wondered momentarily why she felt the need to look through my post. I only hoped that it was her duty as a wife and not a spy. Or, perhaps, it was an opportunity for her to lift her dress. As the Gods knew, she would use any other excuse.

Generally speaking, the action should come before the dialogue. Consider showing her lifting her dress and pulling the envelope out... THEN saying "I checked your letters..."

Also, new paragraph at "The envelope was folded..." It's a new image, new subject-- therefore a new paragraph is appropriate. Any new action is more easily identifiable to the readers (in my opinion) if it's spaced apart.

Again, I don't disagree with anything that happened in this prologue. Mostly, I just felt it needed to amount more to something. The only discernible thing that happened (as far as I could see) was an envelope being removed from a garter. That's a good start. But I'd like to see more of a hook at the end to make the reader feel as if he/she absolutely has to turn the page into Chapter 1.

Hope this helps. Best of luck!

This passage starts out very slowly.  I'd prefer reading something more revealing about the characters through the initial dialogue, whether it's about how the wedding went, or more about how they met.  Maybe even something about their courtship would work.  If there's going to be platitudes in the beginning of the prologue, I'd hope to learn more about the characters through it.

"Alaric, Schatz, may I speak to you alone for a second?"

I don't know German, so I don't know what "schatz" means.  I thought at first that two characters were being called aside.

"You couldn't have picked a better one, Anne." her aunt Greta sighed, fanning herself with her hand.

The H in "her" should be capitalized.

Overall, the tone of the narrator is very formal and stilted, almost mechanical.  I found it difficult to read at times.  I assume the narrator is a young man, but the speech sounds like it might come from someone years older.  Of course, I don't know exactly how old he is, either.

I had a question: Is there a reason that this is a prologue?  It seems like the action starts at the end of the scene.  Might it fit at the beginning of Chapter 1?

 with someone's touch against me,

The words "against me" seemed ackward and I feel the sentence would be fine without it.

expensive handbag in human form

I like this comparison, but it read kind of ackward and a bit "out of the time period".  It's just an opinion, of course, but perhaps a little historical research into women's fashion from the time would make it more realistic.  But, again, it's just my opinion.

her hand moving from my arm to my own hand.

I can see the trouble you had making this smooth, but it reads a bit weird to my eyes. Perhaps simplifacation would work better, simply saying that she grabbed my hand.

The characters are pretty interesting at this point and seem well created.  I like the way he's blase about is all. Unfortunately, I'm not sure if his marraige is the most important part of the story, though I have a feeling that it's not.  The true story here is the letter from Berlin.  It seems to take a while to get there through all the chit chat that seems to have little meaning.  I would like it better if you cut some of the chatter out, taking it down to one or two lines, and get to the letter quicker.  About the letter, I can tell it's important, but I'd like to have more insight into his thoughts about it. As of now, she just hands it to him and leaves, but there has to be more, doesn't there?  Does it confuse him, excite him, make him nervous? Choosing first person POV, you have the right to give us these insights.  I think that would leave the readers hanging on the end of their seats, wanting more.

Not that I'm not looking forward to the next chapter. Good Job.

Amber

So far, I enjoy your voice. For some bizarre reason, when reading, I find that to be more important than what is actually going on. I think that is just me, however.

If this is intended to shed some light on the plot and setting, I have to admit that I am intrigued. Admittedly, I don't know where this is heading, but I don't see that this told much that couldn't have been stated in a few sentences. Not too much happened. I know not too much is supposed to happen in a prologue, but it seemed like filler more than introduction. The dialogue kept it moving enough to keep me wondering. How long is this piece going to be? Any ideas?

One thing:

Anneliese had been latched onto the crook of my arm since she walked, and I ducked, through the line of daggers several hours earlier.

This sentence confused me. I'm assuming it's referring to the wedding? Maybe it's just my lack of knowledge about customs of that time and place. Also, the mention of his ducking before the mention of his height seems a little backwards to me.

Aside from the lack of action, my only other complaint is some awkward phrasing. I'm not sure exactly what to point out as an example. I think it's more of an overall feel.

The story piqued my curiosity. I'm interested to see where this goes.