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. 

Quote of the Day (Mark Twain, on the Need to “Leave Out the Vocal Parts’ in Wagner Operas)

“The entire overture, long as it was, was played to a dark house with the curtain down. It was exquisite; it was delicious. But straightway thereafter, of course, came the singing, and it does seem to me that nothing can make a Wagner opera absolutely perfect and satisfactory to the untutored but to leave out the vocal parts. I wish I could see a [Richard] Wagner opera done in pantomime once. Then one would have the lovely orchestration unvexed to listen to and bathe his spirit in, and the bewildering beautiful scenery to intoxicate his eyes with, and the dumb acting couldn't mar these pleasures, because there isn't often anything in the Wagner opera that one would call by such a violent name as acting; as a rule all you would see would be a couple of silent people, one of them standing still, the other catching flies. Of course I do not really mean that he would be catching flies; I only mean that the usual operatic gestures which consist in reaching first one hand out into the air and then the other might suggest the sport I speak of if the operator attended strictly to business and uttered no sound.”—American novelist and humorist Mark Twain (1835-1910), “Mark Twain at Beyreuth” (often called “At the Shrine of St. Wagner”), originally printed in the Chicago Daily Tribune, Dec. 6, 1891, included in Mark Twain’s Travel Letters From 1891-92 

This Day in Classical Music History (Wagner Dies, But His Controversies Survive)

Feb. 13, 1883—A heart attack suffered on vacation in Venice may have ended the life of Richard Wagner at age 69, but the tumult he engendered outlived him. It survives, in some ways, even hotter today, as biographers, musicologists, even the entire German nation consider whether this musical revolutionary spurred reactionary politics that infected an entire continent.

The controversy starts, though, with Wagner’s personal life. Over a week ago, Joseph Horowitz’s article in The Wall Street Journal took to task Simon Callow for propagating the “monster” myth about the composer in the actor-biographer’s new book, Being Wagner.

To be sure, Horowitz is correct that Wagner was an early victim of “fake news." The article cites an 1866 newspaper report that, ignoring generous-to-a-fault payments Wagner made his estranged wife Minna, claimed that she had been reduced to poverty following their separation. Horowitz might just as easily have mentioned the rumor that Wagner’s fatal cardiac incident resulted from his argument with second wife Cosima over excessive attention to a 23-year-old soprano who played one of the flower-maidens in his recent triumph, Parsifal.

In one way, it is surprising that so much murkiness has developed around what Wagner did, said, or meant, as he is virtually unrivaled among composers in the documentation he left about himself (approximately 12,000 letters, along with additional prose works that are projected to run to eight volumes when scholars complete the task by 2030).

But, on second thought, such a swirl of rumors might be understandable, as Wagner’s contemporaries believed him capable of almost anything—not just herculean feats of creativity, but also impulsive acts destructive to his livelihood, his family, and his reputation.

How, for instance, could the composer who counted on wealthy patrons to bankroll his outsized ambitions be the same man who cuckolded those benefactors? How could the member of the culturati who counted Jews among his friends and supporters be the same man who wrote the notorious 1850 essay, Das Judenthum in der Musik (Judaism in Music)—which even Horowitz acknowledges as “egregiously anti-Semitic”?

In fact, amid constant upheaval in his life, anti-Semitism prevailed as a leitmotif in Wagner's thought. As he aged, he edged away from the radical ideology that forced him into exile after 1848. But, even with his late-life embrace of Christianity and German nationalism and his exclusion of much youthful writing that now embarrassed him, he never repudiated his poisonous racial nonsense.

Wagner was hardly the only anti-Semitic major figure in classical music history, nor can he be held solely or even largely responsible for the Holocaust. But his prejudice was virulent; Hitler idolized him; and the element of bombast so present in his music made it a natural culture lodestone for the Fuehrer.

Oscar Wilde, in his inimitable way, sent up that last quality perhaps the best of anyone I have read: “I like Wagner’s music better than any other music. It is so loud that one can talk the whole time without people hearing what one says. That is a great advantage.”

Not hearing what is being said—when your laughter dies down, just remember that this last effect of bombast is also what allowed millions of ordinary Germans to pay no mind to Hitler when he divulged his mad notions about conquests and scapegoats.

Quote of the Day (Mark Twain, on Richard Wagner)

“I have seen and greatly enjoyed the first act of everything Wagner created, but the effect on me has always been so powerful that one act was quite sufficient; after two acts I have gone away physically exhausted.”—Mark Twain, The Autobiography of Mark Twain

Did Twain say, as he is so often quoted, that Richard Wagner’s music is “better than it sounds”? 

It sure sounds like something he’d express—and when in doubt about a quote that surprises and delights with its plain-spoken directness, there’s a tendency to attribute it to him, just as, whenever there’s a quote that’s surprising and paradoxical, people will, more often than not, believe it originated with either Oscar Wilde or George Bernard Shaw.

It turns out that Twain didn’t say or write this. In his autobiography, he quoted this as coming from the younger humorist Edgar Wilson, a.k.a. Bill Nye (1850-1896). Over the years, people became confused and attributed it to Twain himself, probably because the Man in the White Suit cited it approvingly in his memoir.

No matter what he might have thought about the sounds created by the composer, however, Twain freely admitted to fascination with the stagecraft of the German's overwhelming musical theater works: “One of the most engaging spectacles in the world is a Wagner opera force marching on to the stage, with its music braying and its banners flying.”

I don’t know if Twain was in the audience, but he undoubtedly would have had a similar reaction on this date in 1886, 21 years after its premiere in Munich and three years after the composer’s death, when Tristan und Isolde made its American debut at New York’s Metropolitan Opera. The two leads had worked with the composer himself, so they were as well-grounded in the material as you could get.

Wagner had feared that he was creating an opera that would drive people mad, and indeed the first Tristan in Germany had died from delirium only days after the premiere.

  

If New Yorkers were driven mad, however, it was with delight. A critic for the Musical Courier observed that when the performance concluded, “middle-aged women in their enthusiasm stood up in their chairs and screamed their delight for what seemed like hours.”

  

The darker side of that latent hysteria was evoked in this Woody Allen one-liner: “Every time I listen to Wagner, I get the urge to invade Poland.”

This Day in Classical Music History (‘Tristan & Isolde’ Reflects Real-Life Wagner Drama)

June 10, 1865—The Munich premiere of Tristan und Isolde (Tristan and Isolde) should have placed Richard Wagner on the high, comfortable plateau he had needed so desperately throughout his career.

His creative acolyte, conductor Hans von Bulow, had battled recalcitrant musicians in the orchestra throughout rehearsals, but had now brought off the composer’s vision in brilliant fashion; after several postponements, the public had nevertheless greeted his three-act music drama with storms of applause; and, most of all, he now had a patron—King Ludwig II of Bavaria—who not only had taken care of his debts but had financed this really expensive opera.

But Wagner, being Wagner, had already incurred the proverbial wrath of the gods. It wasn’t only that he continued to spend other people’s money recklessly, that he told any and all about “the incomparable magic of my works,” or even that he tried to influence Ludwig’s politics.

No. Like the Arthurian tale he’d adapted, Wagner had embarked on a heedless love affair with von Bulow’s wife Cosima—not the first time he’d taken advantage of the wife of an admirer. Only this time the relationship produced a baby, as well as such a scandal that, by year’s end, he’d be forced into exile again.

I was first exposed to the work of Wagner for a music humanities course in college. As the various tenors and sopranos battled each other in ear-shattering duets, I came to agree with the assessment of Mark Twain in his Autobiography (or, rather, the assessment he passed along by humorist Edgar Wilson “Bill” Nye): “Wagner’s music is better than it sounds.”

Wagner’s personality, most assuredly, was not better than his music. Harold C. Schonberg’s The Lives of the Great Composers, after the obligatory noises about the composer’s genius, offered this devastating conclusion:

“As a human being he was frightening. Amoral, hedonistic, selfish, virulently racist, arrogant, filled with gospels of the superman (the superman naturally being Wagner) and the superiority of the German race, he stands for all that is unpleasant in human character.”

In creating Tristan from 1857 to 1859, Wagner proposed to change the rules of the musical drama with an opera that used the orchestra, in startling new ways, to suggest unresolved chords and recurrent leitmotifs. He was already changing the rules of civilized social order by having an affair with poet-writer Mathilde Wesendonck, the wife of Otto Wesendonck, a wealthy silk trader. The relationship broke up his marriage and alienated Wesendonck, a benefactor.

As bad as that was, the scandal involving Cosima, the daughter of Wagner’s great friend Franz Liszt, was worse. It was so blatant that even Ludwig told the composer he needed to leave for awhile, until everything blew over. (Ludwig being Ludwig, he subsidized the exile of Wanger and Cosima in Switzerland for the next few years.)

In 1983, public television aired a miniseries on Wagner, starring Richard Burton (in one of his last roles) as the composer and Vanessa Redgrave as Cosima von Bulow Wagner. I have not yet had a chance to watch this, but I can’t imagine better casting than these two stars. Only they could begin to comprehend the scandal and controversy that followed in the wake of the composer and his wife.

(Incidentally, the image accompanying this post shows one of the original Munich performances of Tristan, with Ludwig Schnorr von Carelsfeld and wife Malvina in the title roles. Good thing the photographer took this shot, because, in another instance of the turbulence surrounding this production, the gifted Ludwig died after only the fourth performance, at age 29, of rheumatic fever.)