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Photo: Bayreuth Festival 1927/28: Stage setting "Götterdämmerung"

Written By The Wagnerian on Sunday, 11 November 2012 | 7:45:00 am

This postcard was sold on Ebay a few days ago. We thought you might be interested. Click on to view a larger image.


1st act, 2nd scene


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Mariinsky Label to record Ring Cycle with: Kaufmann, Stemme, Kampe, Petrenko and Pape.

Written By The Wagnerian on Tuesday, 6 November 2012 | 5:51:00 pm


As far as Wagner casts and conductors come (following his Parsifal) a new recorded Ring Cycle including: Jonas Kaufmann (Siegmund), Nina Stemme (Brünnhilde), Anja Kampe (Sieglinde), Mikhail Petrenko (Hunding), René Pape (Wotan) and conducted by Valery Gergiev don't come much bigger.

And the date to put in your diary? February 2013 will see the release of the first CD. However, this will not be Rheingold but, in an odd artistic decision  but probably a good commercial one, Walkure. This will be followed with Rheingold in September 2013 with Siegfried and Gotterdammerung to follow in 2014.

If its anything like the Gergiev Parsifal it may be worth the wait.


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Pay Per View: Alex Ross - Richard Wagner: Horror, Beauty, a Mirror to Our Soul


While we are not fans of pay-per-view lectures we suppose someone must pay for all of those starving journalists at The New Yorker. And in his defense, he is always interesting to listen to.

There is a free preview below. If you decide it is worth $9.99 (we are are always grateful of favourable exchange rates) for the full 1 hour 29 minutes - or so - then follow the link below.

The career of Wilhelm Richard Wagner is controversial for its influence on the Nazi Party. New Yorker Music critic Alex Ross declares that, justly or unjustly, Wagner should be judged both through the prism of art and the historical context that frames it. Recorded at the New Yorker Festival


To watch the full lecture go to Fora.tv
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Salvador Dali's "Mad Tristan" leaves the noumenal and returns to the world of phenomenon

Director Daniele Finzi Pasca, centre, and members of the production stand before a Salvador  Dali
painting that will serve as a backdrop to Company Finzi Pasca's  circus production of La Verita.:
  PAUL CHIASSON/THE CANADIAN PRESS


A massive painting by Salvador Dali created in 1944 as a backdrop for a ballet put on by New York's Metropolitan Opera was recently found and displayed Monday in Montreal.
The eight by 15 meter piece was offered to circus master Daniele Finzi Pasca, who will use it in his next theatrical and acrobatic production, La Verita, which opens on January 17 in the Canadian metropolis.
The artwork depicts the Spanish surrealist painter's vision of the 12th century legend of the adulterous love affair between the Cornish knight Tristan and the Irish princess Iseult (or Isolde).
Dali painted it while collaborating with choreographer Leonide Massine for the ballet "Mad Tristan," inspired by Wagner's opera "Tristan and Isolde." He also designed the sets and costumes.
Art lovers will immediately recognize Dali's style in the monumental stage curtain that shows a head in the form of a dandelion, a crutch standing on its own, cypresses sprouting from the nape of a neck, an egg in a deserted world and his famous ants.
After being discovered in the Met's prop storage, it was sold and restored in 2009 to a European art collection, which has asked to remain anonymous.
After Montreal, both the canvas and La Verita's puppeteers, contortionists, acrobats, dancers and singers will tour South America and Europe, notably France, Italy, Spain and Switzerland, said troupe spokesman Jean-Sebastien Rousseau.
AFP News
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New Issue Of The Wagner Journal Now Available. Includes: Wagner & Milton


The November 2012 issue (vol.6, no.3), now available, contains the following feature articles:

• 'Making All Things New: from Paradise Lost to the Ring' by Stella Revard, elucidating resonant parallels between the epics of Milton and Wagner

• 'The Introduction of Nordic Sources from the Nibelung Legend into Germany' by Edward R. Haymes, exploring the process by which the Nibelungenlied came to prominence in 19th-century Germany

• 'German Readings of the Ring' by Udo Bermbach, a survey of the German reception of the Ring in the first three-quarters of the 20th century

plus reviews of:

The new Der fliegende Holländer and other productions at Bayreuth; the Ring at the Bavarian State Opera and at the Met, New York; The Flying Dutchman at ENO;Götterdämmerung at Longborough

DVD recordings of Robert Carsen's Barcelona Tannhäuser and Harry Kupfer's Berlin Parsifal

New recordings of Parsifal and Lohengrin under Marek Janowski and of Die Walküreunder Mark Elder

Barry Millington's Richard Wagner: the Sorcerer of Bayreuth reviewed by Mike Ashman

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Listen Now: "Rhinemaidens" Bayreuth 1904

Illustration from Stories of the Wagner Opera by H. A. Guerber, 1905.


The three Rhinemaidens in Cosima Wagner's Bayreuth production singing scenes by Rheingold and Götterdämmerung:

1. Wallala! Wallalaleia! / Lugt, Schwestern!
2. Frau sonne sendet lichte strahlen

Josefine von Artner (Woglinde)
Marie Knüpfer- Egli (Wellgunde)
Ottilie Metzger (Flosshilde)

Recorded by G&T in Bayreuth, 1904
Illustrations of the production.




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Greed and the Nature of Evil: Tolkien versus Wagner

Originally published in 2010 in  the recommended, peer reviewed Journal Of Religion and Popular Culture. Once again, we felt it was of too much interest to those with an especial  interest in Wagner for it not to have a wider readership. It can be read in its original form by following the link below. Also, clicking any of the references will take you the original journal article Images and video added by TW.

"During the 1930s, when he was a member of the informal literary discussion group The Inklings, it appears that Tolkien and C.S. Lewis began to translate the libretto of Die Walküre. Lewis, who remained Tolkien’s closest friend for decades, was quite a Wagnerian. He collected recordings, owned a set of Arthur Rackham’s illustrations of the Ring, dreamt of writing a prose version of Die Walküre, and took Tolkien along to London to see a production of the opera there." Stefan Arvidsson

"Anyway, I have in this War a burning private grudge – which would probably make me a better soldier at 49 than I was at 22: against that ruddy little ignoramus Adolf Hitler (for the odd thing about demonic inspiration and impetus is that in no way enhances the purely intellectual stature: it chiefly affects the mere will). Ruining, perverting, misapplying, and making for ever accursed that noble northern spirit, a supreme contribution to Europe, which I have ever loved, and tried to present in its true light." Tolkien

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SF Opera: A whale, a swan and pair of star-cross'd lovers:

Written By The Wagnerian on Monday, 5 November 2012 | 10:11:00 pm


By MIKE SILVERMAN, Associated Press

It made for an eclectic week at the San Francisco Opera.

With the company's fall season in full swing, three different works took the stage on consecutive nights Thursday through Saturday. First was Jake Heggie's intermittently enthralling adaptation of "Moby-Dick"; next, Bellini's retelling of the Romeo and Juliet story, "I Capuleti e i Montecchi," in a ravishingly sung, foolishly staged production; and, best of all, Wagner's "Lohengrin," featuring a break-out performance by emerging heldentenor Brandon Jovanovich.

"Moby-Dick," a hit at its premiere in Dallas in 2010 and successfully revived several times since, benefits from a savvy libretto by Gene Scheer, which boils down Melville's sprawling novel to a coherent narrative, while maintaining chunks of his poetic language.

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The Wagnerian Recommends: the best of the Wagner Web 1: Think Classical

The first of a number of features where I will attempt to suggest Wagner (or closely related) websites that you may not be aware of, starting with "Think Classical"

I have to admit to spending far too much time on this site since - to my shame - discovering it only recently. Although, as the author admits (and as its name might suggest)  it is not purely a Wagner website.  it does tend to cover (thankfully) very little else.

It should be noted that it is neither a news site or a music review site. Instead it tends to consist of highly erudite discussions of Wagner's work - with a fair smattering of book reviews. And this is not a reviewer who would be described as a "passive" reader or reviewer.  If you have a book on Wagner that you like and  consider of value then beware; Think Classical will pursue its arguments with rigour. Turning to the original German sources - including Wagner's -  translating them into what is finally readable English to "fling" them back with some gusto at the lazy author who assumes no one will ever check these things

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Tristan und Isolde Productions: 2013



Only productions that have at least announced their principle casts have been included. As always, we cannot guarantee the accuracy of any listing and recommend that you check with the box office before booking. We will attempt to add video and photos as time allows.  If you believe we have missed a production please get in touch and let us know: where, when and who.

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Decca release "unheard" Solti - includes Wagner, Hotter, Nilsson, etc

Written By The Wagnerian on Sunday, 4 November 2012 | 1:33:00 pm

Released in Europe on Oct 13 it will receive its North American release 4 December. If you have access to Spotify you can hear the entire two CD set below.

Georg Solti: The Legacy 1937-1997


As Decca marks the centenary of Sir Georg Solti with several box sets devoted to many of his benchmark opera recordings comes a very special 2-CD set entitled Solti - The Legacy 1937-1997.
This 2-CD set contains 150 minutes of many previously unpublished live recordings and unpublished studio items spanning Sir Georg Solti's entire professional career as well as his 50-year exclusive association with Decca.
The accompanying booklet contains an essay by broadcaster, writer and former member of the orchestra of the Royal Opera House, Covent Garden, Jon Tolansky (who played in the orchestra during part of Sir Georg Solti's tenure as Music Director); sung texts in the original language + English are included as well as a selection of photographs.
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The Incongruence of the Schopenhauerian Ending in Wagner’s Götterdämmerung


Of late, we have been investigating the influence of a range of German philosophers on Wagners thoughts and the development of his dramas  With this in mind, we thought the following might be of interest - especially as it begins to bring many of these strands together. Whether you agree with Locus' thesis is another matter of course , although he makes a compelling case. 

Originally published in Stanford Uni's in house Journal, (the archives of which can be found here: Stanford Undergraduate Research Journal) it seemed to us, to be a shame for it to not reach a wider Wagner audience and we thus reproduce part here. The complete paper can be read by following the link below.




The Incongruence of the Schopenhauerian Ending in Wagner’s Götterdämmerung 
James Locus



In Richard Wagner’s four-part musical drama, The Ring of the Nibelung, the composer experienced great difficulty in completing the final draft of the last piece, the Götterdammerung. Before the music had been composed, the text of the piece – the libretto – remained incomplete for many years. Wagner planned five endings,  yet one is particularly distinct in terms of context and philosophical underpinnings. Musicologists later labeled the unused text as The Schopenhauer Ending to reflect how strongly the philosophy of Arthur Schopenhauer influenced Wagner during the libretto stage. Focusing on the libretto, Locus explores Wagner’s preoccupation with Schopenhauer’s work and the way in which it inspired an ending, incongruent with both the larger context of The Ring of the Nibelung and the prevailing culture of Wagner’s time.
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Concert: Waghalter: The Lost Romantic. ECO - London 14/11/12

Written By The Wagnerian on Saturday, 3 November 2012 | 1:16:00 pm

Irmina Trynkos
Since first reading about this composer earlier this year I have developed a fascination for both this project and the composer. If you have Spotify you might want  to listen to the CD below. Recommended

A unique opportunity to hear the first performance of Waghalter’s richly melodic and colourful Violin Concerto and Rhapsodie in 100 years. Celebrated during his lifetime, Waghalter was forgotten as a result of the extraordinary circumstances of his life and his flight from persecution in Europe. Irmina Trynkos, an artist of exceptional talent has recently recorded the works for Naxos with Alexander Walker, a conductor highly regarded for his interpretations of Central and Eastern European music.


Wednesday 14 November 2012, 7.30pm
Cadogan Hall


Irmina Trynkos
Alexander Walker
English Chamber Orchestra

Ignatz Waghalter: The Lost Romantic
MozartCosì fan tutte Overture
DvořákLegends, Nos.3 and 4
Ignatz WaghalterViolin Concerto in A Major (first performance since 1911)
DvořákLegends, Nos.7 and 9
Ignatz WaghalterRhapsodie for Violin and Orchestra (first performance since 1907)
MendelssohnSymphony No.4 (Italian)

More Information and tickets: Cadogan Hall



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Free Ebook: Feuerbach - "The Essence of Christianity"

While the majority of general commentaries often stress the influence that Schopenhauer had on Wagner, it is of little doubt that Ludwig Feuerbach, was also a great influence upon him - as Feuerbach, was on many revolutionaries in Wagners time.. This seems to have been the case while Wagner was in Dresden and continued while he was in exile. It is equally difficult to doubt that he influenced many of the ideas that have found themselves into the Ring .

Feuerbach's major work remains, "The Essence of Christianity" a work in which, to quote Aaron Green's rather neat summary:

"....Feuerbach asserted that nature is the highest reality in that it exists regardless and independent of all beliefs and philosophies. The religious figures and ideas that cultures and nations hold about "god" are merely projections of the desired qualities these groups of people wish to obtain and live by. When men and women cannot find these qualities on earth, they throw them up into the heavens, pay homage to them, and call them god. More advanced and sophisticated cultures begin to consider god(s)in a more abstract sense, and possibly associate all god-like traits with a single entity (monotheism). Despite the fact that these gods (and later "god" singular) do not exist, they still act as an important tool in understanding the needs and desires of human beings. In other words, gods did not create men; men created men. The beliefs and, "assertions we make about God are in fact assertions about ourselves."

This particular Feuerbachian belief extended to Wagner's personal religious life. Wagner never considered any religion as truth, but considered each immensely valuable in the things it revealed about the people practicing them."

The book, translated into English by George Eliot has long been in the public domain. Alas, the only versions online and free tended to be in PDF format. Recently, while looking for a Kindle ready version we noted online retailers selling such versions for £7 and more!

With that in mind we have spent a little time to present to you a highly readable version in both Kindle and Epub format below.

PDF - Read Online Here

Epub - Download Here

Kinle - Download Here
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A Flock of Nightingales: Wagner’s Music and German Philosophy

Written By The Wagnerian on Friday, 2 November 2012 | 7:27:00 pm

Originally published in the, I believe now extinct, Canadian Aesthetics Journal, Volume 7, Autumn, 2002

 "My title, “a flock of nightingales”, is taken from an entry in his wife Cosima’s diary: 4 February, 1883 (about 10 days before his death): “R. tells me the nice dream he had: he was with Sch., who was extraordinarily cheerful and friendly. ] Then R. drew Sch.’s attention to a flock of nightingales, but Sch. had already noticed them.” Steven Burns

A Flock of Nightingales: Wagner’s Music and German Philosophy

Summary:

Richard Wagner, composer of music dramas, reflected or interacted with major philosophical figures in nineteenth-century Germany. Some of the main intersections, especially those with Hegel, Schopenhauer and Nietzsche, are described in this paper as an illustration of how one artist engages with abstract issues such as consciousness, knowledge and justice.

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Video: "Kicking Away the Ladder" German Idealism: Kant, Goethe, Fichte

Goethe

As many will know, Wagner had an obsessive interest in philosophy - and not just Schopenhauer. How important a knowledge of the ideas that he pursued is to "understand" his music is of course based on how important that is to your listening of Wagner. For those interested we will attempt to present "introductions" to these ideas over the coming months. There is of course, always a difficulty in finding suitable resources - especially in video and audio format - that are suitable and freely available. Thus many of these will be "compromises". Might be worth keeping that in mind.
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Wagner's Anti-Semitism and German Philosophy

Written By The Wagnerian on Thursday, 1 November 2012 | 10:54:00 pm

Hegel
 Originally published on the Teloscope website, February 2012

As an occasional feature on TELOSscope, we highlight a past Telos article whose critical insights continue to illuminate our thinking and challenge our assumptions. Today, Katherine McGinity looks at Michael Mack's "Richard Wagner and the Trajectory of Transcendental Philosophy," from Telos 123 (Spring 2002).
Michael Mack's "Richard Wagner and the Trajectory of Transcendental Philosophy" explores the differing brands of anti-Semitism in Kant, Hegel, Feuerbach, and Schopenhauer, and explains how their scrutiny of Jews as a hindrance to society was radicalized by Richard Wagner. Mack details how each philosopher's particular form of anti-Semitism fed into Wagner's social-political writings as well as his "total works of art." By investigating the concepts put forth by Wagner's philosophical predecessors, one can more fully understand how a radicalized version of Kantian moral philosophy infiltrated German national culture through the composer's art. Mack specifically addresses how these ideas manifested in Wagner's Ring Cycle.
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Wagner's secret admirers in Israel

Theodor Herzl
DANIELLA CHESLOW: Jerusalem Post

For most Richard Wagner fans, the annual Wagner Festspiele (festival) in this small city in southern Germany is a musical rite of passage. For Daniel Halevy, a devotee from Tel Aviv, seeing three operas at the festival in August was a pilgrimage, but also a protest.

Wagner, a vocal anti-Semite and a favorite of Adolf Hitler, is unofficially banned in Israel.

Halevy, 78, is a retired engineer. A friend introduced him to Wagner about 10 years ago. Since then, he has watched some 60 recorded performances of the composer’s operas at monthly meetings with friends in Tel Aviv. “We know every performance, every detail,” Halevy tells The Jerusalem Report. “The parts of the opera speak to you so much – it’s really compelling.”

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The origin of Tristan und Isolde lies not in Schopenhauer but Kleist?

Written By The Wagnerian on Wednesday, 31 October 2012 | 6:47:00 pm

Heinrich von Kleist
Originally published in New Left Review in 2000, Michael Marr investigates Wagner, his uncle Adolph and the possible influence of Heinrich von Kleist on on Tristan und Isolde

"My uncle subsequently exercised no small influence on my development; we shall meet him again at a critical turning-point in the story of my youth. RW: My LIFE

‘In the evening, something from Kleist’s posthumous works (political catechism)’ CW: Diaries


"In Kleist, as in Novalis, sacred night holds in its keeping the raptures of love and union in death. The Romantics are notably absent from Wagner’s library in Dresden, but it does contain the three-volume Kleist edition of 1826. In the library at Wahnfried, Wagner’s house at Bayreuth, one can examine the metrical marks Wagner made in Kleist’s Broken Pitcher". Michael Marr


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The Geneva Festival Wagner : 1813-2013


Anyone unaware of the special place reserved for Switzerland in Richard Wagner’s life and the subtle set of influences the country brought to bear on his work need only reflect on his frequent sojourns in Geneva, his ten-year exile in Zurich and the six happy years he spent at Lake Lucerne. And so it would seem entirely appropriate that in the composer’s adopted country, the bicentenary of his birth should be an occasion for ambitious celebrations.

 The Wagner Geneva Festival 1813-2013, offering twenty events drawn from across the spectrum of artistic expression, including dance, theatre, painting and cinema will once again confirm the influence on art and ideas of the man responsible for the concept of Gesamtkunstwerk.

 From the Martin Bodmer Foundation exhibit devoted to an intellectual biography of the composer to a stage production of Der Fliegende Holländer, delivered in its original (Paris) version, the Wagner Geneva Festival contribution to the bicentenary has its sights set on a portrait that is faithful yet full of contrast.

Der Fliegende Holländer, Paris version, 1841
Four stage performances
Between 28 October and 5 November 2013

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LUCERNE FESTIVAL 2013 - A new Ring Cycle


Revolution!

LUCERNE FESTIVAL celebrates its 75th anniversary! In 1938 the Festival, which operated under the name of “Internationale Musikfestwochen Luzern” until 2000, originated with a legendary “Concert de Gala” led by Arturo Toscanini.

 The “Anniversary Summer” of 2013 will focus on the theme of “Revolution.” When Igor Stravinsky’s ballet “Le Sacre du Printemps” was premiered on 29 May 1913 in the Théâtre des Champs-Elysées in Paris, the archaic power of this music had a shocking impact. There was booing, whistling, and shouting – even outright fighting. Arguably the most memorable of scandalous premieres in the history of music, at the same time it has become a vibrant symbol for the early 20th century, for the overthrow, reversal, and reorientation of values in that era.
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Video: Opera North, Ring - Walkure - Documentary

Written By The Wagnerian on Tuesday, 30 October 2012 | 11:09:00 pm




Pera North is staging Wagner's epic Ring cycle over 4 years.  This documentary follows the preparations for Die Walküre, the second part in the saga.

Wotan is king of the gods, law-maker and father of nine warrior daughters (Valkyries) with the goddess of the Earth, Erda.  He tries to break the curse of the Ring of power by fathering a pure-of-heart hero by a mortal woman.  But when the lives of Wotan's mortal off-spring are threatened, his plans to protect them are thwarted and his favourite daughter defies his will.  Though Wotan still loves her dearly, he is forced to punish her severely.

Siegmund - ERIK NELSON WERNER Sieglinde - ALWYN MELLOR Hunding - CLIVE BAYLEY Wotan - BÉLA PERENCZ Fricka - KATARINA KARNÉUS Brünnhilde - ANNALENA PERSSON Helmwige - KATHERINE BRODERICK Ortlinde - MEETA RAVAL Gerhilde - MIRIAM MURPHY Waltraute - JENNIFER JOHNSTON Siegrune - MADELEINE SHAW Rossweisse - CATHERINE HOPPER Grimgerde - ANTONIA SOTGIU Schwertleite - EMMA CARRINGTON

Conductor - RICHARD FARNES Concert Staging and Lighting/Projection Designer - PETER MUMFORD.



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Video: Keith Warner in conversation with Kasper Holten - ROH Ring

Written By The Wagnerian on Monday, 29 October 2012 | 5:37:00 pm


In this interview, Keith speaks about his career, what inspired his production of Richard Wagner's masterwork and how he tackled such an ambitious work. He also spoke about the nature of hope at the climax.

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The Wagnerian Reviews: The Sorcerer of Bayreuth

Written By The Wagnerian on Sunday, 28 October 2012 | 4:11:00 am

Recently, regular contributor Daniel Carroll reviewed Barry Millington's new Wagner book: The Sorcerer of Bayreuth: Richard Wagner, His Work, and His World. This was from an academic perspective and as always made excellent reading. However, we noted at that time that our editor - a noted dilettante - would provide a more general review later. This can be found below but should not be seen to replace Daniel's in anyway.

The Sorcerer of Bayreuth: Richard Wagner, His Work, and His World
320 pages; over 300 b&w and color illustrations; 6-1/2 x 9-1/4;ISBN13: 978-0-19-993376-1ISBN10: 0-19-993376-6


Barry Millington's new book on the life and legacy of Richard Wagner is a strange work. In many ways it is the book on Wagner studies that we have been waiting for - and is long overdue. This is especially so for those new to Wagner or with a less detailed knowledge of his work and times.  At the same time, it contains a few strange eccentricities  - and even omissions - that simply cause one to scratch one's head. Often I found myself nodding in agreement at Millington's fair mindedness and ability to deal evenly with some of the conflicting thought in recent, and not so recent, Wagner research (as one might expect from the editor of the Wagner Journal). This can go on for chapters and then suddenly, as if from nowhere, I found myself thinking; "Oh come now! This seems as biased as some of Wagner's own writing". And Wagner was a man who, when caught in the moment, often found it hard to see the weaknesses in his own arguments.

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Read Now: Wagner At Home - Judith Gautier.

Written By The Wagnerian on Saturday, 27 October 2012 | 5:04:00 am

"Chère, I am sad! There is another reception this evening, but I shall not be going to it! I reread a few pages of my life which I once dictated to Cosima! She sacrifices herself to her father's habits, - alas! Could it have been for the last time that I held you in my arms this morning? No! - I shall see you again - I want to see you! because I love you! - Adieu - Be good to me! R Wagner in a letter to Judith Gautier.

Often described as Wagners "muse" during Parsifal -  as Mathilde Wesendonk is supposed to have been his muse during the creation of Tristan - it is certain that Judith Gautier and Wagner were close. So close that Wagner named his chaise-longue after her!  

It is clear that she became an "enthusiastic fan", not only attending the first Bayreuth Festival but spending much time with the Wagners. However, Gaultier was much more than a "muse" or "wagnerian" she was also a poet, novelist, feminist and Oriental scholar. Of especial interest to us is that not only did she translate Parsifal to French but she also wrote a first-hand account of her first two visits to the Wagner's Villa Tribschen. This was translated into english in 1911 and published  by (in a rather ironic turn, considering what they went onto become) Mills and Boon.

Now out of copyright and in the public domain it can be read in full below

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"Inside The RIng": month long Wagner festival. UK 2013

As London closes its Wagner 200 events, the interested UK (and international) "Ring Follower" need not worry as a further series of events of no less a quality will begin in the Cotswolds. Truncated details below. Each set of events will appear during the noted LFO Ring Cycle. For full details - and booking information - please visit "Inside The Ring" at the Wagner Society's website.



A programme of events exploring aspects
of Wagner's masterpiece alongside
performances of The Ring by
Longborough Festival Opera
MASTERCLASSES, OPEN REHEARSAL, LECTURES, LIVE PERFORMANCEFILM
June 17-July 11 2013
St. George's Hall, Blockley, Moreton-in-Marsh, Glos. GL56 9BY
ARTISTIC DIRECTOR DAVID EDWARDS
PRESENTED BY THE MASTERSINGERS
IN ASSOCIATION WITH
LONGBOROUGH FESTIVAL OPERA
 WITH GENEROUS SUPPORT FROM
THE WAGNER SOCIETY


Cycle 1


JUNE 17 EVENT 1 

5PM MICHAEL PORTILLO'S RING The famous broadcaster's film on Wagner's epic and how its meaning inspires and impacts in the modern world. With a specially recorded preface for this Festival. 90 minutes 

7PM WAGNER'S ELEMENTS David Edwards and LFO young singers illustrate the themes of Earth, Air, Fire and Water that feature predominantly in the RING cycle. Richard Black piano 90 minutes 

JUNE 19 EVENT 2 

5PM REHEARSING THE RING Carmen Jakobi, LFO's Assistant Director, takes a rehearsal with understudies for the RING and demonstrates how the rehearsal process prepares singers to "jump in" 90 minutes 

7PM MARTIN & LIZZIE GRAHAM talk to Alan Rusbridger, editor of The Guardian, about their passion for Wagner and how they built up Longborough Festival Opera over many years. 90 minutes 

JUNE 21 EVENT 3 

5PM PROFESSOR BRYAN MAGEE in 

conversation with Alan Rusbridger. The U.K/s pre-eminent philosopher and Wagner enthusiast discusses the composer's thought and music. 90 minutes 

7PM GWYNNE HOWELL The veteran British bass has sung no fewer than 12 different Wagner roles. He discusses his distinguished career and coaches young singers on this taxing repertoire. 90 minutes




Cycle 2

JUNE 27 EVENT 4 

5PM MASTERCLASS with DAME ANNE EVANS 
The charismatic and celebrated British soprano coaches four young Wagner singers and gives a fascinating insight into the way singers must develop voice and character simultaneously in this demanding  repertoire. 
Richard Black piano. 3 hours, including interval 

JUNE 29 EVENTS 5

5PM ANTHONY NEGUS and THE MUSIC OF THE  RING 
LFO'S acclaimed Music Director talks about his passion for Wagner and how he approaches conducting this mighty work. 90 minutes 

7PM THE MERRY NIBELUNGS Rare opportunity to hear highlights from Oscar Strauss' 1904 operetta -which follows the Norse legend much more closely than Wagner's version. LFO singers. Richard Black piano Malcolm Rivers narrator 90 minutes 

JULY 1 EVENT 6 

5PM MIKE ASHMAN - RINGS OF THE WORLD 

The renowned director and writer gives his personal survey of productions of the cycle in modern times. The RING has inspired controversy among audiences for so long - how and why? 90 minutes 

7PM TONY PALMER - THE WAGNER FAMILY The 

famous filmmaker introduces his film examining sensitive political and familial relations between Bayreuth and Germany in the 1930s and beyond. Post-showing audience discussion. 2 hours



CYCLE 3 


JULY 7 EVENT 7 

5PM MASTERCLASS with tenor KIM BEGLEY 

This distinguished British singer shares his knowledge with the next generation of tenors.
Richard Black piano 90 minutes Subject to confirmation 

7PM WAGNER AND LISZT EXPLORED -JULIAN JACOBSON The virtuoso pianist examines the close relationship between two musical giants with illustrations at the keyboard. 90 minutes 

JULY 9 EVENT 8 

5PM BARRY MILLINGTON The eminent Wagner scholar gives an illustrated presentation on the RING, its origin and meaning and talks about his new book The Sorcerer of Bayreuth. 90 minutes 

7PM TONY PALMER introduces SILENT WAGNER, a remarkable film made by Carl Frohlich in 1913. A rare document made when Cosima Wagner was still in charge at Bayreuth. 90 minutes 

JULY 11 EVENT 9 

5PM BREAKING THE RING 
David Edwards and LFO singers explore the 11 year creative  divide in the composition of the RING. 
Richard Black piano 90 minutes 

7PM PROFESSOR JOHN DEATHRIDGE -ENDING THE RING The great Wagner expert, scholar, and celebrated author looks at the composition of GOTTERDAMMERUNG and how the RING concludes in a surprising way. 90 minutes





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Two rings to rule them all: a comparative study of Tolkien and Wagner


The following excellent and highly accessible paper acts as a comparative analysis (with a thesis we think highly original) of both Wagner and Tolkien's "Ring Cycles".  Originally published in the accredited fantasy journal Mythlore (which specialises in work on Tolkien, Lewis and other members of the Inklings -  in 2011. It is reprinted here with the kind permission of the author and Mythlore. For further details about  Mythlore please visit their website here.

The author, Dr Jamie McGregor originally came to our attention when we located, and reprinted part of  his doctoral thesis Myth, music and modernism : the Wagnerian dimension in Virginia Woolf's "Mrs Dalloway" and "The Waves" and James Joyce's "Finnegan's Wake last yearHaving spoken to him since and gained an understanding of his extensive knowledge of and enthusiasm for both Wagner and Tolkien we are more than pleased that we did. 
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Katharina Wagner: "Don't Cry For Me Argentina" but she won't be back anytime soon

"Don't Cry For Me Argentina"

"It won't be easy
You'll think it strange
When I try to explain how I feel
That I still need your love
After all that I've done
You won't believe me
All you will see
Is a girl you once knew
Although she's dressed up to the nines"
Andrew Lloyd Webber: Evita


It's not often - indeed never - that you would expect to find lyrics by Andrew Lloyd Webber here, but it just seemed so appropriate somehow.

After a bizarre week - reported here in no little detail - it seems that Katharina Wagner and Teatro Colon, Buenos Aires have finally parted ways. No longer will K Wagner direct the reduced Ring Cycle that she has been talking about. with no little enthusiasm, for the past two years. Pedro Pablo García Caffi and Teatro Colon have dissolved  Katharina Wagner's contract to produce their reduced Ring. It seems, according to Garcia Caffi, the theatre could not possibly meet her demands for rehearsal equipment, etc. However, both parties announced that the split was an amicable one.

Despite this, Teatro Colon's "reduced Ring" will still premiere on the 27 November but now with Argentine Valentina Carrasco, who has worked for more than ten years as a director with the Catalan theatre group Fura dels Baus, at the helm.
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A Collection Of Free Wagner Ebooks

Written By The Wagnerian on Wednesday, 24 October 2012 | 10:19:00 am



As has been often mentioned, Wagner is one of the most written about composers in history - and this is not a new phenomenon but  began even while he was still alive. The benefit of this to us is that many of these books are long out of copyright, in the public domain and are thus freely available to anyone that wishes to read them. Of course producing and distributing print books still retains a cost and this must be paid for. However, no such cost needs to be involved with distributing "Ebooks" (or at least very little cost). Such books can be read on ones computer or ebook device such as a Kindle or Sony Reader. Being in such a format also makes searching within them for research much easier.

We are presently in the process of collecting as many of the "better" ones (well written, proof read, formated) as we can - and some of these have already been made available here. However, to make finding them within the site as easy as possible  we have collated as many as we have available below. You need only click on the link and chose the book that you want and in the format that you require - where available. We shall add to this as we can.

As a predominantly english speaking site all books are in english. Clicking a link will take you to that books page with full details of its contents and the formats available.


My Life - Richard Wagner (In English)













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Alberic Magnard: The French Wagner, Bruckner, Mahler or something else?

Written By The Wagnerian on Tuesday, 23 October 2012 | 10:14:00 pm

Magnard, for those that know him (and for some unknown reason that is too few) he has been called all of the above - or in the case of Mahler, a composer who at least "predicted" him. A Frenchman (son of François Magnard, a bestselling author and editor of Le Figaro) who fell in love with Wagner after a visit to Bayreuth (which caused him to give up law to study music). He studied four years with Vincent d'Indy, began to lose his hearing in his latter years and died having been burned to death alone in his house after shooting and killing two German soldiers during WW1. Magnard, a composer of a "Wagnerian" opera that ends not in redemption but failure and the knowledge that humanity can only be "redeemed" as whole - and only once they all truly seek it.

There is so much one might say about Magnard (and the curious reader can find out more by following the links below) But why not listen to some of his music below and decide whether he is worth pursuing? Although, we do include below a review from Gramophone written in 1988 examining his only recorded opera: GUERCOEUR.
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The Janowski Studio Ring - an overview

Written By The Wagnerian on Monday, 22 October 2012 | 11:53:00 pm

Readers may have realised by now that our taste in performances can be on occasion "idiosyncratic". This is probably no more so than in Ring Cycles. While we must admit to owning we think, every Ring Cycle recorded - and several not - one of the studio recordings (live recordings are another matter) that we return to frequently is Janowski's 1983 studio recording - the first digitally recorded Ring.

We grow somewhat "tired" of hearing Wagner of late that sounds more like Verdi. Janowski, we are pleased to say here, has a firm grasp of what Wagner "is" and should sound like. "Line" remains throughout but without a hint of any lack of "drama" or "excitement" that maintaining such "line" can result in. Janowski, at least to our ears, in this Ring understands what Wagner considered to be the "secret" of his style - as Wagner explains here in a letter to Mathilde Wesendonck in October 1859 :

"My greatest masterpiece in the art of the most delicate and gradual transition is without doubt the great scene in the second act of Tristan and Isolde. The opening of this scene presents a life overflowing with all the most violent emotions - its ending the most solemn and heartfelt longing for death. These are the pillars: and now you see, child, how I have joined these pillars together, and how the one of them leads over into the other. This, after all is the secret of my musical form, which, in its unity and clarity over an expanse that encompasses every detail, I may be bold enough to claim has never before been dreamt of."

(Note: It is due to this that we feel there is a "danger" in concentrating on the leitmotifs at the risk of so much else - it is not the "motifs" that are important, we would argue, but how they develop, change, meld and, to use Wagners terms, are involved in (and, at the risk of becoming too abstract, become) the act of "transition")

Others of course have understood this, Karajan comes to mind in particular, but, in our opinion it is possible to lose some of the "passion" or "drive" in Wagner while trying to maintain these transitions to closely - Janowski does not make this mistake. He seems to understand Wagner's notion of "transitions" but is nevertheless not slave to them like some. But perhaps this is what Wagner wanted? (At the other end of the spectrum, and at the risk of upsetting a number of readers, Solti is considered by some to have the least understanding of this process - in his studio Ring at least. Although this does mean, again to us, that he has individual moments of sheer genius that are unforgettable).

But this is not the only reason for buying this Ring - especially we would argue for those buying their first Ring "on a budget". We shall list these below:

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Free Ebook: Correspondence of Wagner and Liszt — Vol 1&2 Epub, Kindle, etc

Written By The Wagnerian on Sunday, 21 October 2012 | 9:42:00 pm

"Two principal motives of my myth therefore remain to be represented, both of which are hinted at in "Young Siegfried", the first in the long narrative of Brynhild after her awakening (Act III.), the second in the scene between Alberich and the Wanderer in the second act and between the Wanderer and Mime in the first. That to this I was led not only by artistic reflection, but by the splendid and, for the purpose of representation, extremely rich material of these motives, you will readily understand when you consider the subject more closely. 

"Think then of the wondrously fatal love of Siegmund and Siegelinde, of Wotan in his deep, mysterious relation to that love, in his dispute with Fricka, in his terrible self-contention when, for the sake of custom, he decrees the death of Siegmund, finally of the glorious Valkyrie Brynhild, as, divining the innermost thought of Wotan, she disobeys the god, and is punished by him; consider this wealth of motive indicated in the scene between the Wanderer and the Wala, and at greater length in the above-mentioned tale of Brynhild, as the material of a drama which precedes the two Siegfrieds; and you will understand that it was not reflection, but rather enthusiasm, which inspired my latest plan." Wagner: 1851

"In July I wanted to begin "Young Siegfried" at Seelisberg, on the lake of Lucerne, but now I think of delaying that beginning till next spring. This dislike of work is the worst feature of all. I feel as if with it eternal night were closing around me, for what have I still to do in this world if I cannot do my work?" Wagner 1855

My health, too, is once more so bad, that for ten days, after I had finished the sketch for the first act of "Siegfried," I was literally not able to write a single bar without being driven away from my work by a most alarming headache. Every morning I sit down, stare at the paper, and am glad enough when I get as far as reading Walter Scott. With "Rhinegold" I got on well enough, considering my circumstances, but the "Valkyrie" caused me much pain. Wagner 1857


Translated by  Francis Hueffer and long in the public domain - I note that there are people selling  these in Ebook format still. You can find both volumes below as made available by Project Gutenberg. To download in the format of your choice please click the relevant link below. Originally published in 1889 but still highly readable

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The Wagnerian: Now available on Ipad, Android and more

The Wagnerian on Ipad
We have added The Wagnerian to the  Google Android/Apple App "Google Currents" - See images below.

This should allow users of any of these devices to view The Wagnerian in a way best optimized for their various devices - plus everyone seems to have an "app" nowadays. As always, these remain "advert free" and free to use - at least our little part of it..

 For more information on Google Currents please visit here: Google Currents. You can also download the app (free) from there or find it at either the Google or Apple App Store - again for free.

Once you have downloaded it you will need to "subscribe" to The Wagnerian within it.  You can do this by either searching within the App using the terms "The Wagnerian" or alternatively by clicking this link which will automatically subscribe you to the "stream" once you have the app: Subscribe To The Wagnerian in Google Currents. 


It is a work in progress at the moment and we shall add more pages and functionality - time and interest  permitting.

The Wagnerian on Android Phone

The Wagnerian on Android Tablet

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