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The Wagner Clan
For over a century the Wagners have presided over the Bayreuth Festival, playing host to many of the greatest and ghastliest figures in the arts and politics amidst family in-fighting and political controversy. Drawing on extensive interviews with members of the family and on both archive and recent material, Jonathan Carr presents a balanced but gripping portrait of the Wagners and their circle; a story which presents a mirror of Germany's rise, fall and resurrection.
Inside the Ring
Once tainted by association with Hitler and Nazism, Richard Wagner's work has experienced an international cultural renaissance in the last 25 years. His magnum opus, Der Ring des Nibelungen, which took him over 20 years to finish, is a complex tale with themes of greed, corruption and loss, spun out in more than 16 hours of powerfully moving opera. This book, with provocative essays for both the uninitiated and the seasoned fan, examines Wagner's Ring cycle from a wide array of modern perspectives. Divided into six parts, this anthology first offers a foundation for the Ring, with a chronology and an introduction, along with a look at Wagner as an enterprising marketer. Part Two explores di...
The Bayreuth Festival during the 'Third Reich'
Seminar paper from the year 2004 in the subject History of Germany - National Socialism, World War II, grade: A (1,0), The New School (Historical Studies), course: Modern Dictatorship and Political Religion, language: English, abstract: [...] Since its founding in 1876, the Bayreuth Festival had been a locus of representation for politically prominent figures; among the guests of the first Festival were the German Emperor Wilhelm I and the Brazilian Emperor Dom Pedro II2. In the years to come, Bayreuth would keep its meaning as a “political symbol“ 3. From 1933 on, the Wagnerian Hitler used the Festival for both the representation of his person and his regime. The Foundations for this ap...
The Arts in Nazi Germany
"Culture and the arts played a central role in the ideology and propaganda of National Socialism from the early years of the movement until the last months of the Third Reich in 1945 ... This volume's essays explore these and other aspects of the arts and cultural life under National Socialism ..."--Cover.
Art of Suppression
This provocative study asks why we have held on to vivid images of the Nazis’ total control of the visual and performing arts, even though research has shown that many artists and their works thrived under Hitler. To answer this question, Pamela M. Potter investigates how historians since 1945 have written about music, art, architecture, theater, film, and dance in Nazi Germany and how their accounts have been colored by politics of the Cold War, the fall of communism, and the wish to preserve the idea that true art and politics cannot mix. Potter maintains that although the persecution of Jewish artists and other “enemies of the state” was a high priority for the Third Reich, removing them from German cultural life did not eradicate their artistic legacies. Art of Suppression examines the cultural histories of Nazi Germany to help us understand how the circumstances of exile, the Allied occupation, the Cold War, and the complex meanings of modernism have sustained a distorted and problematic characterization of cultural life during the Third Reich.
Haydn and the Classical Variation
Sisman aims to demonstrate that it was Haydn's prophetic innovations that truly created the Classical variation. Her analysis reflects both the musical thinking of the Classical period and contemporary critical interests. The book offers a revaluation of t
Wagner's Parsifal
William Kinderman's detailed study of Parsifal, described by the composer as his "last card," explores the evolution of the text and music of this inexhaustible yet highly controversial music drama across Wagner's entire career. This book offers a reassessment of the ideological and political history of Parsifal, shedding new light on the connection of Wagner's legacy to the rise of National Socialism in Germany. The compositional genesis is traced through many unfamiliar manuscript sources, revealing unsuspected models and veiled connections to Wagner's earlier works. Fresh analytic perspectives are revealed, casting the dramatic meaning of Parsifal in a new light. Much debated aspects of t...
The Cambridge Companion to Wagner
Richard Wagner is remembered as one of the most influential figures in music and theatre, but his place in history has been marked by a considerable amount of controversy. His attitudes towards the Jews and the appropriation of his operas by the Nazis, for example, have helped to construct a historical persona that sits uncomfortably with modern sensibilities. Yet Wagner's absolutely central position in the operatic canon continues. This volume serves as a timely reminder of his ongoing musical, cultural, and political impact. Contributions by specialists from such varied fields as musical history, German literature and cultural studies, opera production, and political science consider a range of topics, from trends and problems in the history of stage production to the representations of gender and sexuality. With the inclusion of invaluable and reliably up-to-date biographical data, this collection will be of great interest to scholars, students, and enthusiasts.
Richard Wagner
All modern artists have had to market themselves in some way. Richard Wagner may just have done it better than anyone else. In a self-promotional effort that began around 1840 in Paris, and lasted for the remainder of his career, Wagner claimed convincingly that he was the most German composer ever and the true successor of Beethoven. More significantly, he was an opera composer who declared that he was not composing operas. Instead, during the 1850s, he mapped out a new direction, conceiving of works that would break with tradition and be literally 'brand new'. This is the first study to examine the innovative ways in which Wagner made himself a celebrity, promoting himself using every means available: autobiography, journal articles, short stories, newspaper announcements, letters, even his operas themselves. Vazsonyi reveals how Wagner created a niche for his works in the crowded opera market that continues to be unique.
Wagner's Theatre
In Wagner’s Theatre, Patrick Carnegy presents the turbulent story of Wagner and his interpreters over the course of the twentieth century. Carnegy gives vivid accounts of Gustav Mahler's radical reinvention of the Wagnerian stage, and of the post-war rehabilitation of Wagner and his work after Hitler's appropriation. He also offers sharply written reappraisals of those great Wagnerian conductors Klemperer, Toscanini, Karajan and Solti. Carnegy provides revealing accounts of the inside-workings of the Royal Opera House and of English National Opera at troubled points in their recent history. In a fascinating conversation with Sir Michael Tippett, the composer talks with unique authority about the problems facing would-be musical dramatists today. Wagner’s Theatre is an essential insight into how interpretations of Wagner have developed, and how we can respond to them.
