Der Fall Wagner“ Und „Ecce Homo“
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Wagmer Neypmd Good and Evil
36167_u01.qxd 1/7/08 4:06 PM Page 3 1. Wagner Lives Issues in Autobiography Wagner’s biography has been researched to within an inch of its life. It has been dissected, drenched with no end of detail, eroticized, vilified, heroi- cized, and several times filmed.1 Its foundations are the collected writings, which in the first instance Wagner edited himself in the spirit of an autobi- ographical enterprise;2 a separate and lengthy autobiography, Mein Leben (My life), dictated to his mistress and later second wife, Cosima, daughter of Franz Liszt;3 notebooks and diaries;4 photographs and portraits;5 an un- usually large number of letters;6 mounds of anecdotal gossip; and no end of documentation on the way he lived and how his contemporaries saw him.7 In this sense, he is almost the exact antithesis of Shakespeare, whose life, or at least what is safely known about it in terms of verifiable “facts,” can be told in a relatively short space. I have summarized the history of Wagner biography elsewhere.8 Here I want to look at Wagner’s own portrayals of his life, some issues they raise, the philosophical spirit in which I believe they were attempted, and their effect on the generation that came immediately after him. Biographers of Shakespeare have had to resort to imaginative recon- structions and not infrequently to knowingly forged documents that have accorded their subject more lives than a cat.9 In stark contrast, there appears to be only one life for Wagner, which he did his best to determine in large part himself. -
Richard Wagner RIENZI Der Letzte Der Tribunen
Richard Wagner RIENZI der letzte der Tribunen Grande opera tragica in cinque atti Libretto di Richard Wagner Dal romanzo “Rienzi, the Last of the Roman Tribunes” di Edward Bulwer-Lytton Traduzione italiana di Guido Manacorda Prima rappresentazione Dresda, Königliches Hoftheater 20 ottobre 1842 PERSONAGGI COLA DI RIENZI tribuno romano tenore IRENE, sua sorella soprano STEFANO COLONNA capo della famiglia Colonna basso ADRIANO suo figlio mezzosoprano PAOLO ORSINI capo della famiglia Orsini basso RAIMONDO legato pontificio basso BARONCELLI tenore CECCO DEL VECCHIO basso UN MESSO DI PACE soprano Cittadini romani, inviati delle città lombarde, nobili romani, cittadini di Roma, messi dipace, ecclesiastici di ogni ordine, guardie romane. Wagner: Rienzi – atto primo ATTO PRIMO [N° 1 - Introduzione] Scena I° Una via di Roma. Sullo sfondo la chiesa del Laterano; sul davanti a destra la casa di Rienzi. È notte (Orsini con 6-8 suoi partigiani davanti alla casa di Rienzi) ORSINI ORSINI È qui, è qui! Su, svelti amici. Hier ist’s, hier ist’s! Frisch auf, ihr Freunde. appoggioate la scala alla finestra! Zum Fenster legt die Leiter ein! (Due nobili salgono la scala ed entrano per una finestra aperta nella casa di Rienzi) La fanciulla più bella di Roma sarà mia, Das schönste Mädchen Roms sei mein; penso che sarete d’accordo con me. ihr sollt mich loben, ich versteh’s. (I due nobili portano Irene fuori dalla casa) IRENE IRENE Aiuto! Aiuto! O Dio! Zu Hilfe! Zu Hilfe! O Gott! GLI O RSINIANI DIE ORSINI Ah, che divertente rapimento Ha, welche lustige Entführung dalla casa del plebeo! aus des Plebejers Haus! IRENE IRENE Barbari! Osate un tale oltraggio? Barbaren! Wagt ihr solche Schmach? GLI O RSINIANI DIE ORSINI Non opporre resistenza, bella fanciulla, Nur nicht gesperrt, du hübsches Kind, Vedi: sono troppi gli aspiranti! du siehst, der Freier sind sehr viel! ORSINI ORSINI Vieni, pazzerella, non essere cattiva. -
Gottfried Semper. Ein Bild Seines Lebens Und Wirkens Mit Benutzun
GOTTFRIED SEMPER EIN BILD SEINES LEBENS UND WIRKENS MIT BENUTZUNG DER FAMILIENPAPIERE VON HANS SEMPER PROFESSOR DER KUNSTGESCHICHTE IN INNSBRUCK. BERLIN VERLAG VON S. CALVARY & CO. MDCCCLXXX. GOTTFRIED SEMPER EIN BILD SEINES LEBENS UND WIRKENS MIT BENUTZUNG DER FAMILIENPAPIERE HANS SEMPER PROFESSOR DER KUNSTGESCHICHTE IN INNSBRUCK. BERLIN VERLAG VON S. CALVARY & CO. MDCCCLXXX. (jTottfried Semper wurde am 29. November 1803 zu Hamburg als der zweitjüngste Sohn eines Wollen -Fabrikanten geboren und in der evangelisch -reformirten Kirche zu Altona getauft. Er erhielt eine sorg- fältige Erziehung und insbesondere übte der willensstarke Charakter sei- ner Mutter einen grossen Einfluss auf seine Entwickelung aus. — Trotz der strengen Zucht, unter der er heranwuchs, verkündigten doch schon mehrere Vorfälle seiner Kindheit, mit welcher unerschrockenen Energie er dereinst seinen Ueberzeugungen und seinem Streben Ausdruck und Gel- tung verschaffen würde. Er machte die Gymnasialstudien, die er glän- zend absolvirte, am Johanneum seiner Vaterstadt und legte dort den Grund zu seiner Liebe zum Alterthum, sowie zu seiner umfassenden Kenntniss der griechischen und römischen Literatur. Wie lebendig er schon in dieser Zeit den Geist der alten Schrift- steller in sich aufnahm, wie er aber trotz dieser Vorliebe für das klas- sische Alterthum dennoch von den Qualen nicht verschont blieb, die so mancher Jüngling empfindet, an den die Wahl des Lebensberufes heran- tritt, das zeigt eine Stelle aus einem Briefe, den er viele Jahre nachher an Regierungsrath Hagenbuch -
Richard Wagner on the Practice and Teaching of Singing
Richard Wagner on the Practice and Teaching of Singing By Peter Bassett [A paper presented to the 8th International Congress of Voice Teachers on 13 July 2013.] Weber and Beethoven were still alive when Wagner was a teenager, and their long shadows, together with those of Mozart and Marschner fell on all his early projects. His first completed opera Die Feen, composed in 1833 when he was just twenty years old, was never performed in his lifetime but, even if it had been, it wouldn’t have sounded as good as it does in the best recorded versions we know today. The type of singing familiar to Wagner was far from ideal, and many German singers of his era were poorly trained and had unsophisticated techniques. His sternest critic, Eduard Hanslick had something to say on the difference between German and Italian singers at that time: ‘With the Italians’ he said, ‘great certainty and evenness throughout the role; with the Germans an unequal alternation of brilliant and mediocre moments, which seems partly accidental.’ Wagner had to entrust his major roles to inadequately trained singers in many cases, which must have been challenging to say the least. He worked hard to improve matters, pouring much time and energy into the preparation of performances. ‘I do not care in the slightest’ he once said, ‘whether my works are performed. What I do care about is that they are performed as I intended them to be. Anyone who cannot, or will not, do so, had better leave them alone.’ David Breckbill has written that ‘The differences between the singing which Wagner knew and that which we hear today are considerable. -
Degenerate Religion and Masculinity in Parsifal Reception
Degenerate Religion and Masculinity in Parsifal Reception James Kennaway Our future historians will cull from still unpublished letters and memoirs ... the idea that the performances at Bayreuth had really much the status of religious rites and that their effects were not unlike what is technically called a revival. -Vernon Lee (1911: 875) The idea that there is something religious about Bayreuth is not new, and goes well beyond cliches about opera houses as the "cathedrals of the bourgeoisie:' The words used to describe the festival by Wagnerians and anti -Wagnerians alike have often been consciously religious. One makes a pilgrimage to the holy site, there are acolytes who serve the holy work and the orthodoxy, her etics are excommunicated-the comparisons are all too obvious. Friedrich Nietzsche referred to this phenomenon in a letter to his friend Malwida von Meysenburg when he suggested that "all this Wagnerizing" was "an unconscious emulation of Rome" (Fischer-Dieskau 1974:202). Even in more recent times, after the moral, ideological, and organizational disasters that the festival was caught up in during the twentieth century, the skies above the Festspielhaus were scoured for signs of the white smoke announcing which member of the dysfunctional clan was to succeed the composer's grandson Wolfgang Wagner. If this musical Vatican has a central rite, it is surely Parsifal. Not an opera or a music drama but a "Biihnenweihfestspiel" (a "stage-festival consecration-play"), Wagner's last work leaves the cheerful paganism of the Ring far behind.l The composer had toyed with aspects of Christianity as far back as Tannhiiuser, but in Parsifal he went much further, almost to the point, many believed, of creating opera as sacrament. -
Richard Wagner Im Hotel Fantaisie
Das erste 2 Baubeginn des 1872 Arbeit am 1872 Bayreuther Domizil 1872 Festspielhauses Ring des Nibelungen Bayreuth ist ohne Richard Wagner (1813 – 1883) nicht mehr zu denken. 1871 beschloss er, angeregt durch das dann Richard Wagner aber zu kleine Markgräfliche Opernhaus, sich hier anzusiedeln, Am 29. April 1872 begannen, nach jahrelangen Planungen, endlich 9. Juni: Nachmittags spielt und singt R. aus der Götterdämmerung um die später weltberühmten Festspiele zu gründen. die Erdarbeiten für die Fundamentierung des Bayreuther Festspiel- und wird darüber melancholisch, daß es ihm so fremd geworden, hauses. Früh geschah der erste Spatenstich. Am 1. Mai fand die erste er sieht die Notwendigkeit ein, sich wieder an die Musik zu machen. im Hotel Fantaisie Ihre erste Bayreuther Wohnung bezog die Familie Wagner Konferenz mit dem technischen Direktor Carl Brandt und dem Ende April 1872 im neu erbauten Hotel Fantaisie am Architekten des Festspielhauses, Otto Brückwald, statt. 24. Juni: R. spielt mir, was er heute geschaffen, Siegfried‘s Eingang zu jenem Traumpark, wo sie sich bis zum Der Festspielhausbau trat damit, wie Wagners Biograph C.F. beginnende Erzählung. Spätsommer glücklich fühlen sollten: die Großfamilie Glasenapp schrieb, „in eine neue, hoffnungsvolle Phase, nachdem Richard und Cosima mit den 5 Kindern Daniela, Blandine, alles Vorhergehende zu keinem befriedigenden Ziele geführt hatte“. 6. Juli: R. spielt uns aus der Götterdämmerung, Hagen‘s Ruf und Isolde, Eva & Fidi (Siegfried). die Rheintöchter. (R. arbeitet.) An Bürgermeister Theodor Muncker: Richard Wagner gefiel es hier, als er, aus der Schweiz Mein theurer Freund! 10. Juli: Herrliches Wetter; von der Schweizerei zu Fuß nach Haus, kommend, Bayreuther Land betrat. -
Meyerbeer Bibliography by David A
An Open Meyerbeer Bibliography by David A. Day ** = verification in progress Articles in periodicals Abert, Hermann. “Meyerbeer.” Jahrbuch der Musikbibliothek Peters 25 (1919): 37-52. Altmann, Wilhelm. “Aus Gottfried Webers brieflichem Nachlass.” Sammelbände der Internationalen Musikgesellschaft 10 (1908-9): 477-504. ________. “Briefe Meyerbeers an Gottfried Weber: Aus den Jahren 1811-15, 1833 und 37.” Die Musik 7 (1907-8): 71-86, 155-61. ________. “Geschichte der königlischen preussischen Hofkapelle.” Die Musik 3 (1903-04): 3- 22, 211-27. ________. “Meyerbeer im Dienste des preussischen Königshauses.” Zeitschrift für Musikwissenschaft 2 (1919): 94-112. ________. “Meyerbeer-Forschungen.” Sammelbände der Internationalen Musikgesellschaft 4 (1903): 519-34. ________. “Meyerbeer's Bibliothek.” Allgemeine Musikzeitung 43 (1916): 254-58. ________. “Meyerbeers Nordstern, e. m. Unrecht vergess. Oper.” Die deutsche Bühne 11 (1919): 212, 230. ________. “Richard Wagner und die Berliner General-Intendantur.” Die Musik 2 (1902-3): 331- 45. ________. “Spohrs Beziehungen zur General-Intendantur der Königlichen Schauspiele in Berlin.” Neue Zeitschrift für Musik 71 (1904): 199-202. ________. “Spontini an der Berliner Oper.” Sammelbände der Internationalen Musikgesellschaft 4 (1903): 244-92. Ballin, Gerhard. “Die Ahnen des Komponisten Giacomo Meyerbeer.” Genealogie 8 (1966): 228- 34. Baricelli, J. P. “Autour de 'Gambara': In Balzac et Meyerbeer.” Année balzacienne 8 (1967): 157-64. Becker, Heinz. “Giacomo Meyerbeer. On the Occasion of the Centenary of His Death.” Leo Baeck Institute Yearbook 9 (1964): 178-201. ________. “Glanz , Elend und Bedeutung der Grand Opera.” Fonoforum 9, no. 5 (1964): 174-77. ________. “Meyerbeer erstes Bühnewerk: Der Fischer und das Milchmädchen.” Kleine Schriften der Gesellschaft für Theatergeschichte 1 (1958): 26-36. -
Richard Wagner in München
Richard Wagner in München MÜNCHNER VERÖFFENTLICHUNGEN ZUR MUSIKGESCHICHTE Begründet von Thrasybulos G. Georgiades Fortgeführt von Theodor Göllner Herausgegeben von Hartmut Schick Band 76 Richard Wagner in München. Bericht über das interdisziplinäre Symposium zum 200. Geburtstag des Komponisten München, 26.–27. April 2013 RICHARD WAGNER IN MÜNCHEN Bericht über das interdisziplinäre Symposium zum 200. Geburtstag des Komponisten München, 26.–27. April 2013 Herausgegeben von Sebastian Bolz und Hartmut Schick Weitere Informationen über den Verlag und sein Programm unter: www.allitera.de Dezember 2015 Allitera Verlag Ein Verlag der Buch&media GmbH, München © 2015 Buch&media GmbH, München © 2015 der Einzelbeiträge bei den AutorInnen Satz und Layout: Sebastian Bolz und Friedrich Wall Printed in Germany · ISBN 978-3-86906-790-2 Inhalt Vorwort ..................................................... 7 Abkürzungen ................................................ 9 Hartmut Schick Zwischen Skandal und Triumph: Richard Wagners Wirken in München ... 11 Ulrich Konrad Münchner G’schichten. Von Isolde, Parsifal und dem Messelesen ......... 37 Katharina Weigand König Ludwig II. – politische und biografische Wirklichkeiten jenseits von Wagner, Kunst und Oper .................................... 47 Jürgen Schläder Wagners Theater und Ludwigs Politik. Die Meistersinger als Instrument kultureller Identifikation ............... 63 Markus Kiesel »Was geht mich alle Baukunst der Welt an!« Wagners Münchener Festspielhausprojekte .......................... 79 Günter -
Eva Rieger. 2011. Richard Wagner's Women. Translated By
Eva Rieger. 2011. Richard Wagner’s Women. Translated by Chris Walton. Woodbridge, UK: Boydell Press. Laurence Dreyfus. 2010. Wagner and the Erotic Impulse. Cambridge, MA: Harvard University Press. Reviewed by Jeremy Coleman The anniversary commemoration of great artistic figures would be incomplete without a survey of the scholarly landscape. So in the year of Richard Wagner’s bicentenary, the publication of new books shows no sign of abating, and nor should it, when there is still so much to be said about this most controversial of composers. But many of the literary products that pass for Wagner scholarship are still beset by popular assumption, blind deference, and trite dismissal, imposing a dead weight that threatens to smother the critical spark that alone can do Wagner justice and demonstrate his startling relevance. It is in this spirit that the present article will individually review two recent publications on gender and sexuality in Wagner, and finally compare them and reflect on wider scholarly trends and possibilities. In Richard Wagner’s Women, an English translation by Chris Walton of “Leuchtende Liebe, lachender Tod”: Richard Wagners Bild der Frau im Spiegel seiner Musik (2009), Eva Rieger offers one of the first “feminist” studies of Wagner’s life and work. Specifically, Rieger assesses the dramatic function and characterization of both women and, to a lesser extent, “feminized” men in Wagner’s operas, from Das Liebesverbot to Parsifal. The original German–language publication was warmly praised in a review, “Role Play,” by Walton (2010), who evidently valued the study highly enough to bring it to a wider readership. -
Is It Here That Time Becomes Space? Hegel, Schopenhauer, History and Grace in Parsifal
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Royal Holloway - Pure The Wagner Journal, 3, 3, 29–59 Is it Here that Time becomes Space? Hegel, Schopenhauer, History and Grace in Parsifal Mark Berry Richard Wagner’s final drama, Parsifal, has generally been understood to represent the culmination of an ideological line very different from that of his earlier works, with the exception of Tristan und Isolde and possibly the later sections of Der Ring des Nibelungen. The revolutionary of the Dresden barricades in 1849 has finally sold out to the quietism of Schopenhauer and/or to Christianity – or, which amounts to the same thing, he has at last cast off the folly of his radical youthful flirtations. Thus Roger Scruton posits a ‘transformation of the Ring story, from Young Hegelian beginnings to a quasi-Christian or at any rate Schopenhauerian end’, in which ‘we witness a process of growing up in Wagner for which there is no equivalent in Marx’. Mention of Marx is far from inciden- tal, since Wagner is thereby achieving an emancipation from Hegel such as Marx never does. The Ring, Scruton startlingly claims, is therefore ‘not about power or money or even love; it is about original sin’.1 This nicely sets the scene for the less ambiguously Christian milieu and message of Parsifal.2 Nietzsche was more hostile: for what would a seriously intended Parsifal mean? Must one really see in it (as some- body has expressed it against me) ‘the abortion […] of a hatred of knowledge, spirit, and sensuality’? A curse upon senses and spirit in a single hatred and breath? An apos- tasy and reversion to sickly Christian and obscurantist ideals? And in the end even self-abnegation, self-striking-himself-out on the part of an artist who had previously striven with all of his will’s might to achieve the opposite, the highest spiritualisation and sensualisation in his art? […] One should remember how enthusiastically Wagner followed in the footsteps of the philosopher Feuerbach. -
Crying 'Wolf'? a Review Essay on Recent Wagner Literature
Loyola University Chicago Loyola eCommons History: Faculty Publications and Other Works Faculty Publications 2-2001 Crying ‘Wolf’? A Review Essay on Recent Wagner Literature David B. Dennis Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/history_facpubs Part of the European History Commons Author Manuscript This is a pre-publication author manuscript of the final, published article. Recommended Citation Dennis, David B.. Crying ‘Wolf’? A Review Essay on Recent Wagner Literature. German Studies Review, , : 145-158, 2001. Retrieved from Loyola eCommons, History: Faculty Publications and Other Works, This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in History: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © German Studies Association 2001 Crying “Wolf”? A Review Essay on Recent Wagner Literature David B. Dennis German Studies Review Joachim Köhler. Wagner’s Hitler: The Prophet and his Disciple. Translated by Ronald Taylor. Cambridge, UK: Polity Press, 2000. Pp. 378. Cloth $29.95. Stephen McClatchie. Analyzing Wagner’s Operas: Alfred Lorenz and German Nationalist Ideology. Eastman Studies in Music. Rochester, NY: University of Rochester Press, 1998. Pp. xiii, 262. Cloth $95.00. Lydia Goehr. The Quest for Voice: On Music, Politics, and the Limits of Philosophy: The 1997 Ernest Bloch Lectures. Oxford, U.K.; New York: Clarendon Press; Oxford University Press, 1998. Pp. x, 237. -
Famous Composer Richard Wagner in Bayreuth
today 1883 1872 Richard Wagner conducts Beethovens ninth Synphonie on 22 May The Festival Theatre 1876 (G. Bechstein) The funeral procession with Wagner‘s casket, 18.2.1883 World Heritage Opera House Festspielhaus on the Green Hill Arrival at the Station Richard-Wagner-Stops in Bayreuth Tourist-Information Richard Wagner’s Tannhäuser was performed here already in 1860, in the Nowhere else in the world is there an opera house built specifically for the When Wagner and his family moved to Bayreuth in 1872, they arrived at Festspielhaus Richard Wagner Museum Tourist-Information presence of King Maximilian II of Bavaria. And in 1870, when Wagner was works of just one composer. This was a dream that Richard Wagner had to the old railway station. In 1876, the year of the first Festspiele, the second Villa Wahnfried Trustees: & Bayreuth Shop still living in the Villa Tribschen in Switzerland and was on the lookout for a fight for. In those days copyright was still in its infancy and many theatres laid railway line connecting Bayreuth to Nuremberg and the new station were Festival House Richard-Wagner-Stiftung Bayreuth Opernstrasse 22 / 95444 Bayreuth venue for his Festspiele, the conductor Hans Richter recommended it to him on performances with almost no rehearsals at all and singers who were not still under construction. They finally opened in 1879, and Cosima noted in Grüner Hügel Director: Dr. Sven Friedrich Tel. +49-(0)921-885 88 on account of its unusually large stage. But when Richard and Cosima visited particularly good at singing, let alone acting. Musicians were paid servants’ her diary entry for 23 September: “Drank beer at the new station, which R.