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.

This book is a study of the prose writings of Richard Wagner and their relevance to an understanding of his music and drama, as well as their relation to music criticism and aesthetics in the nineteenth century in general. As a by-product of Wagner's many-faceted career as musician, conductor, cultural critic and controversial ideologue, the writings are documents of undisputed interpretative value. This study focuses on Wagner's words on music, and interprets them in the light of the musical, aesthetic and critical contexts that generated them. Professor Grey considers Wagner's ambivalence concerning the idea of 'absolute music' and the capacity of music to project meaning or drama from within its own system of referents. Particularly relevant are Wagner's appropriation of a Beethoven legacy, the metaphors of musical 'gender' and 'biology' in Opera and Drama and the critical background to ideas of 'motive' and 'leitmotif' in theory and practice.

This book is a study of the prose writings of Richard Wagner and their relevance to an understanding of his music and drama, as well as their relation to music criticism and aesthetics in the nineteenth century in general. It looks at central themes in his writings, such as philosophies of musical form and meaning, Wagner's metaphors and terminology, and connects them with analysis of music from his own operas and works by other composers such as Beethoven and Berlioz about whom Wagner wrote.

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 (1813-1883) aimed to be more than just a composer. He set out to redefine opera as a "total work of art" combining the highest aspirations of drama, poetry, the symphony, the visual arts, even religion and philosophy. Equally celebrated and vilified in his own time, Wagner continues to provoke debate today regarding his political legacy as well as his music and aesthetic theories. "Wagner and His World" examines his works in their intellectual and cultural contexts.

Seven original essays investigate such topics as music drama in light of rituals of naming in the composer's works and the politics of genre; the role of leitmotif in Wagner's reception; the urge for extinction in "Tristan und Isolde" as psychology and symbol; Wagner as his own stage director; his conflicted relationship with pianist-composer Franz Liszt; the anti-French satire "Eine Kapitulation" in the context of the Franco-Prussian War; and responses of Jewish writers and musicians to Wagner's anti-Semitism. In addition to the editor, the contributors are Karol Berger, Leon Botstein, Lydia Goehr, Kenneth Hamilton, Katherine Syer, and Christian Thorau.

This book also includes translations of essays, reviews, and memoirs by champions and detractors of Wagner; glimpses into his domestic sphere in Tribschen and Bayreuth; and all of Wagner's program notes to his own works. Introductions and annotations are provided by the editor and David Breckbill, Mary A. Cicora, James Deaville, Annegret Fauser, Steven Huebner, David Trippett, and Nicholas Vazsonyi.