Flashback, August 1876: Audience Stunned by Richard Wagner’s Epic ‘Ring’ Cycle

As the opening-night audience listened to the premiere of the latest works by Richard Wagner in mid-August 1876, they got what they anticipated, and then some with his “Ring Cycle": a totally immersive musical theater experience, requiring a maximum commitment of time and devotion.

I’m not sure you will find another cultural figure who created something so enormous, so innovative, or requiring so many resources. Drawing on Norse mythology, Wagner proposed o stage four operas connected by a symbol, to which he gave the name of the whole cycle: Der Ring des Nibelungen (“The Ring of the Nibelungen”), totaling 15 to 16 hours.

Only one person he trusted to act as librettist, composer, overall artistic director, stage director, producer, prompter, and supervisor of his acoustic and seating innovations: himself.

Each of the four operas (Das Rheingold, Die Walküre, Siegfried, and Götterdämmerung) needed not one, but two intermissions. And he wanted, and got, a theater built to his specifications in the city of Bayreuth.

Along the way, Wagner was unbelievably fortunate to have the patronage of King Ludwig II of Bavaria. I don’t think I was the only tourist ever to view the latter’s castle, Neuschwanstein, and think, “This guy was crazy.” (In fact, he was sidelined for good—after all but sinking Bavaria into bankruptcy—in 1886, and died shortly afterward under mysterious circumstances.)

In some ways, Ludwig differed from the composer. He would have preferred Munich rather than Bayreuth as the site of the Festspielhaus; he upbraided Wagner for his antisemitism; and, when the monarch compelled his genius friend to turn over the scores of the first two parts of the “Ring,” Siegfried and Die Walküre, it led to a quarrel and a temporary construction halt until Ludwig extended a loan that allowed the festival to open.

Moreover, Ludwig believed in Wagner enough to support him financially when the composer sought to fend off creditors and keep his quarter-century dream of the gesamtkunstwerk, or “total work of art.”

In short, it was inconceivable that Wagner would have realized his dream if not for the patron he privately nicknamed “Parsifal” after his pure, idealistic hero.

Not everyone was enamored with Wagner’s work or the mystique accruing to it. In this prior post, I noted that Mark Twain did not, contrary to belief, write that “Wagner is better than he sounds.”

But he did approvingly pass along that observation by someone else, and he did devote an extended essay, “At the Shrine of St. Wagner,” that took issue with Bayreuth’s cuisine and the composer’s songs (“Nothing can make a Wagner opera absolutely perfect and satisfactory to the untutored but to leave out the vocal parts”).

I have to admit feeling much the same as Twain. But it would also be impossible to deny that Wagner fundamentally changed musical theater—and, arguably, paved the way for so much in 20^th-century culture through his innovations, including:

*orchestral arrangements that incorporated new instruments;

*powerfully built singers who could make themselves heard over these 80-to-100 piece orchestras;

*signers as fully committed to naturalistic acting as to their vocals;

*pits covered, with orchestras unseen so audiences can concentrate on what is onstage;

*leitmotifs, or short, recurring instrumental cues associated with characters, objects, and themes, the better for audiences both to remember them over multiple hours and to subliminally signal emotions;

*continuous, “through-composed” music that blurred traditional distinctions between opera’s arias and recitative sections;

*seating “in the round,” with audience members seated democratically, without regard to pricing;

*theater lights darkened during performances so audiences would concentrate on the action and not on what others around them were doing;

*ambitious subject matter dealing with the most convulsive human emotions: greed, power, love, and salvation.

Even if you have never attended the performance of an opera, it is hard to miss the widespread influence of Wagner:

*films that either use his music directly (most famously, “The Ride of the Valkyries” in Francis Ford Coppola’s Apocalypse Now) or his leitmotif device (the scores of John Williams);

*J.R.R. Tolkien’s The Lord of the Rings, which, despite the novelist’s denials, employed a similar plot as the “Ring Cycle”: the complications involved in possessing an object of miraculous power; and,

*most controversially, fusing romantic nationalism with antisemitism, leading to exploitation by one of his greatest admirers, Adolf Hitler. 

Spiritual Quote of the Day (Jim O’Grady, on Picking a Saint To Help You)

“Maybe you, too, have an unreasonable fear that is leaching the color from your life. Maybe you remedy this through walking, meditation, or therapy. I recommend picking a saint to help you. The ‘saint’ doesn’t have to be a literal, official Catholic one—they can be anyone who rejected a life of maximal self-interest in favor of radical service, someone whose commitment to the rigors and contradictions of doing good in this world can show you how to live in it."—Podcast reporter and biographer Jim O’Grady, “Letter of Recommendation: Saints,” The New York Times Magazine, Sept. 15, 2024

Quote of the Day (Gabriel García Márquez, on an August Visit to a Mother’s Grave)

“She returned to the island on Friday, August 16, on the three o’clock ferry. She was wearing jeans, a plaid shirt, plain flat shoes without socks, carrying a satin parasol and a handbag, and her only luggage was a beach bag. In the row of taxis at the dock she went straight to an old model corroded by the sea air. The driver welcomed her warmly and took her jolting across the destitute village, with its mud-walled shacks, palm-thatch roofs, and streets of burning sand beside a sea in flames. He had to swerve around undaunted pigs and naked children pretending to be toreadors. On the outskirts of the village he drove down an avenue of royal palms where the beaches and the tourist hotels were, between the open sea and a lagoon inhabited by blue herons. At last he stopped outside the oldest, most dilapidated hotel.”—Colombian novelist, journalist, and Nobel Literature laureate Gabriel García Márquez (1927-2014), Until August, translated by Anne McLean (2024)

Quote of the Day (Craig Bernardini, on a Hot, Humid August Day)

"It had been the hottest summer since three years before he was born. He hadn’t thought he could get enough breath, the air so thick and moist, like the world was a giant’s greenhouse cellar. He had learned not to swallow his breath, not to tighten up his chest. On an August day he started four times. Three false starts, but on the fourth he was sure. Fifty meters isn’t that far, anyway, and the water is warm and clear."—Fiction writer and essayist Craig Bernardini, “Depth Charge,” in Narrative Design: A Writer’s Guide to Structure, edited by Madison Smartt Bell (1997)

Quote of the Day (William Morris, on Art)

“Art is the expression by man of his pleasure in labour.”—English textile designer, poet, artist, essayist and fiction writer William Morris (1834-1896), The Art of the People (1879)

TV Quote of the Day (‘Family Ties,’ As a Young Lady Tells Alex What She Did for Love)

Jane [played by Michelle Meyrink]: “Alex, I've had a desperate, passionate yearning for you ever since I was a little kid….I used to watch you across the playground when you were playing with the big kids. And in high school when you ran for Student Council President, I voted for you. 300 times. I'm sorry you didn't win.”

Alex Keaton [played by Michael J. Fox]: “Well, you did all you could.”—Family Ties, Season 3, Episode 11, “Don't Kiss Me, I'm Only the Messenger,” original air date Nov. 29, 1984, teleplay by Ruth Bennett, directed by Will Mackenzie

I wouldn't be the least surprised if Mike Lindell is convinced that Jane voted in the GOP gubernatorial primary for his opponent, Minnesota House Speaker Lisa Demuth, and she got all her friends to do likewise.

After all, Jane already had voted as a youngster for a Republican, Alex Keaton. With 40 years and lots of practice, she could have put her candidate of choice over the top at last!

Flashback, August 1896: Henry Ford Meets Thomas Edison

When the obsessed 33-year-old tinkerer Henry Ford met Thomas Edison for the first time in mid-August 1896, he found encouragement from the older businessman for his gas-powered enterprise—planting the seeds for friendship that lasted to the death of “The Wizard of Menlo Park.”

Perhaps the most famous public instance of their interaction was their 1921 road trip, when they were joined for part of the way by President Warren Harding—an event depicted in Mark St. Germain’s 1995 play, Camping with Henry and Tom.

But I became far more fascinated by their mutual admiration society—and each man did to create and maintain it—while reading Edmund Morris’ 2019 biography Edison.

The occasion for their first encounter was the annual meeting of the Association of Edison Illuminating Companies, an organization founded by Thomas Edison and associates in 1885 to encourage research and the exchange of technical information, ideas and solutions.

Already employed for the last five years at the Edison Illuminating Company in Detroit, Ford first approached his hero surreptitiously, snapping a picture of the straw-hatted inventor asleep on the porch of the meeting’s venue, the Oriental Hotel in Brooklyn’s Manhattan Beach (now the location of the Kingsborough Community College’s Marine and Academic Center Building).

Later that night, he seized his chance for a more open encounter as more than 40 business executives, drinking and puffing cigars inside at a banquet, were conferring about the possibility of electric-powered vehicles. This represented a natural new area of interest for Edison, who was already changing society with, among other innovations, the electric light bulb and the electric power plant.

At one point Alex Dow from Detroit Edison pointed out Ford, his chief engineer, to the great man, and said, “There’s a young fellow who has made a gas car.”

Two months, a drive through the streets of Detroit with his new "Quadricycle" had already demonstrated Ford’s gift for self-promotion. He further evidenced it as he sat by and laid out his plan to the hearing-impaired Edison.

Despite his own interest in a storage battery for horseless carriages, Edison recognized the practical of the proposal he was hearing, telling Ford, “Keep on with your engine. If you can get what you want, I see a great future.”

It wasn’t until 1912, though, that their friendship became closer, when Ford, flush with his burgeoning success with the “Model T,” invested $1.2 million into the Edison Storage Battery Co. as a potential triggering device for automobile self-starters.

A few years later, Edison invited him down for a visit to his Fort Myers, FL, winter home, and for more than a decade the two went off on cross-country auto excursions, usually in the company of tire magnate Harvey Firestone and/or the naturalist John Burroughs.

What drew the two men into a closer friendship. The most obvious commonality, present in their first encounter, was a Midwestern plain-speaking style. But Morris also points to their “shared disdain for Ivy Leaguers, alcohol, and haute cuisine; driving energy, graphic thinking, and delight in anything new.”

They differed in subtle ways in their relationships with families, and more significantly in how they viewed politics.

While Edison maintained a complex, often demanding, even bumpy relationship with his sons, Ford was positively abusive to Edsel, publicly humiliating his ideas in front of other employees and subjecting him to so much stress that he suffered for years from severe ulcers before finally dying from stomach cancer at age 49.

And, while the workaholic Edison often neglected his two wives (and even disclaimed knowing anything about women at all), Ford, many biographers believe, engaged in adultery with his secretary, a relationship that may have resulted in a son out of wedlock.

Furthermore, although Edison expressed the sporadic anti-semitic remark, he employed Jews and other religious and ethnic minorities in his labs. 

In contrast, Ford was not content to vent virulent attitudes on camping trips with Edison and other friends, but through distributed a paper he bought, the Dearborn Independent, circulated through his company’s dealership a 91-part series based on the vicious and fraudulent Protocols of the Elders of Zion.

When Ford passed along this material to his friend, Edison sent back a note acknowledging the gift, Morris notes, while being careful not to endorse its views.

From the mid-1920s on, even as many ordinary Americans began to eye Ford more critically than when he had been a rising folk hero, the auto magnate led the nationwide celebration for Edison as the grand old man of American inventive genius. In October 1929, he and President Herbert Hoover attended "Light's Golden Jubilee," a ceremony marking the 50th anniversary of Edison's incandescent lamp.

Ford paid homage to his friend that day by announcing the Thomas Edison Institute, an initiative in which he bought, dismantled, and reassembled hundreds of historic buildings and artifacts—including, notably, the legendary Menlo Park lab complex.  

Now Greenfield Village, it continues to give tourists and students, together with the Henry Ford Museum of American Innovation, a vivid sense of the worlds that these two industrial giants left behind and created.