"Why produce another biography of Wagner? There are a number of answers to this question. In the first place, the archives are being opened and new documents are appearing all the time. Dr von Westernhagen, a scholar who has devoted his life to Wagner, has produced the only general biography on this scale which is truly up-to-date in making use of this fresh archive material. In the second place, there is a need for a biography which focuses on Wagner's artistic achievements. In recent years Wagner has become a 'problematic' figure, largely because recent biographies have concentrated on his anti-Semitism, his egoism and his sexual life, and have presented the picture of an implausible scoundrel who by chance also wrote some music dramas. Westernhagen's approach is much more positive: his starting point is the importance and the supreme greatness of Wagner's artistry. This is therefore a positive biography, which combines an appropriate largeness of scale with factual accuracy and familiarity with the source documents. Dr von Westernhagen quotes extensively from letters and diaries to throw light, for example, on Wagner's relationship with Cosima, his idea of emigrating to America, his estrangement from Nietzsche (and the way this was later wilfully misrepresented by Nietzsche's sister, Elisabeth), and the later years as they are reflected in the so-called Brown Book, a notebook for the years 1865-82 which Wagner kept for Cosima and which was first published only in 1975. The author has also consulted the composition exercises which Wagner wrote in his teens for his teacher Theodor Weinlig, and the contents of the composer's Dresden library help to establish what were the early intellectual influences upon him. This biography concentrates on the nature of Wagner's art, its development, its achievement: the way, for instance, that Wagner was able to keep many projects in mind simultaneously, all of them dovetailing into one another with an inexorable logic. Particularly useful features of this study are the appendices which include a chronological summary of Wagner's life, a complete list of his musical and literary compositions and an up-to-date bibliography. This is a definitive biography which will stand beside Newman's classic work as an indispensable reference book for all future studies of Wagner, and a judicious account for those approaching this fascinating life story for the first time." --Dust jacket.

It is well known that Richard Wagner, the renowned and controversial 19th century composer, exhibited intense anti-Semitism. The evidence is everywhere in his writings as well as in conversations his second wife recorded in her diaries. In his infamous essay "Judaism in Music," Wagner forever cemented his unpleasant reputation with his assertion that Jews were incapable of either creating or appreciating great art. Wagner's close ties with many talented Jews, then, are surprising. Most writers have dismissed these connections as cynical manipulations and rank hypocrisy. Examination of the original sources, however, reveals something different: unmistakeable, undeniable empathy and friendship between Wagner and the Jews in his life. Indeed, the composer had warm relationships with numerous individual Jews. Two of them resided frequently over extended periods in his home. One of these, the rabbi's son Hermann Levi, conducted Wagner's final opera--Parsifal, based on Christian legend--at Wagner's request; no one, Wagner declared, understood his work so well. Even in death his Jewish friends were by his side; two were among his twelve pallbearers. The contradictions between Wagner's antipathy toward the amorphous entity "The Jews" and his genuine friendships with individual Jews are the subject of this book. Drawing on extensive sources in both German and English, including Wagner's autobiography and diary and the diaries of his second wife, this comprehensive treatment of Wagner's anti-Semitism is the first to place it in perspective with his life and work. Included in the text are portions of unpublished letters exchanged between Wagner and Hermann Levi. Altogether, the book reveals astonishing complexities in a man long known as much for his prejudice as for his epic contributions to opera.

Designed as a companion volume to 2006's Inside the Ring, which focused on the four operas comprising Richard Wagner's Der Ring des Nibelungen, this new volume features more than a dozen original essays focusing on all of Wagner's non-Ring operas. Part One looks at the individual operas, including Der Fliegende Hollander, Tannhauser, Lohengrin, Tristan und Isolde, Die Meistersinger von Nurnberg, and Parsifal. Part Two reveals the connections between Wagnerian opera and other arts, including dance, filmmaking, and fiction. Finally, Part Three examines Wagner's operas in performance, featuring interviews with mezzo-soprano Michelle DeYoung and heldentenor Ben Heppner, both well-known for their Wagnerian performances. The book includes many photographs from current productions by the Metropolitan Opera and other opera companies, along with bibliographies and a discography of recommended performances.

This major new biography of Richard Wagner is iconoclastic, astringent and bold. It explores the philosophical roots of Wagner's work, which the composer himself deliberately obfuscated. It re-evaluates Wagner's relationships with his mother, step-father and - most revealingly - his wife, Cosima, standing received opinion on its head. And he meets head on, and confirms, the controversy over Wagner's anti-semitism. At the same time, and notwithstanding, Kohler profoundly acknowledges Wagner's genius.

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.

This book analyzes the lifelong impact of Beethoven's music on Wagner and its importance for his conception of music drama. Kropfinger charts and scrutinizes Wagner's early responses to the composer and considers his experience as a conductor of Beethoven's music. A discussion of the Romantic "Beethoven image" leads to a careful study of Wagner's aesthetic writings, including his "programmatic explanations," the text "Concerning Franz Liszt's symphonic poems," and his Beethoven centenary essay. The penultimate chapter addresses Wagner's theory and practice of music drama, which he came to regard as the preordained successor to the Beethoven symphony. By analyzing special terms--such as "Leitmotiv"--Wagner's structural view of musical drama comes to the fore; it is a view that deepens not only our understanding of musical drama as a "hybrid" genre of art but also of purely musical structure and forms that Wagner sought to outdo.

Many music lovers find Wagner's operas inexpressibly beautiful and richly satisfying, while others find them revolting, dangerous, self-indulgent, and immoral. The man who W.H. Auden once called "perhaps the greatest genius that ever lived" has inspired both greater adulation and greater loathing than any other composer. Bryan Magee presents a penetrating analysis of Wagner's work, concentrating on how his sensational and deeply erotic music uniquely expresses the repressed and highly charged contents of the psyche. He examines not only Wagner's music and detailed stage directions but also the prose works in which he formulated his ideas, as well as shedding new light on his anti-semitism and the way in which the Nazis twisted his theories to suit their own purposes. Outlining the astonishing range and depth of Wagner's influence on our culture, Magee reveals how profoundly he continues to shock and inspire musicians, poets, novelists, painters, philosophers, and politicians today.

Timothy Martin documents Joyce's exposure to Wagner's operas, and defines a pervasive Wagnerian presence in his work.

This book, addressed to both specialists and the opera-going public, brings together a team of acknowledged authorities from round the world to examine the performance history and reception of Wagner's works in Europe and America. A connected sequence of essays on conducting, singing, production and stage design explores the nature of Wagner's demands on his interpreters. The book raises questions about the realization of opera on the stage: about the authority of the composer vis-a-vis the director and the audience: about the sanctity of the text, score and stage directions; and about the role of art itself in society.

This book challenges and replaces the existing view of Mallarmé's mission to 're-possess' music on behalf of poetic language. Professor Heath Lees shows that Mallarmé's early knowledge and experience of music was much greater than commentators have realis