1258:
the soles of the shoes, whose lateness
Beckmesser had publicly complained about (in Act I). Sachs offers a compromise: he will be quiet and let Beckmesser sing, but he (Sachs) will be Beckmesser's "marker", and mark each of Beckmesser's musical/poetical errors by striking one of the soles with his hammer. Beckmesser, who has spotted someone at Eva's window (Magdalena in disguise), has no time to argue. He tries to sing his serenade, but he makes so many mistakes (his tune repeatedly places accents on the wrong syllables of the words) that from the repeated knocks Sachs finishes the shoes. David wakes up and sees Beckmesser apparently serenading Magdalena. He attacks Beckmesser in a fit of jealous rage. The entire neighborhood is awakened by the noise. The other apprentices rush into the fray, and the situation degenerates into a full-blown riot. In the confusion, Walther tries to escape with Eva, but Sachs pushes Eva into her home and drags Walther into his own workshop. Quiet is restored as abruptly as it was broken. A lone figure walks through the street – the nightwatchman, calling out the hour.
1151:
Meanwhile, Pogner introduces
Walther to the other mastersingers as they arrive. Fritz Kothner the baker, serving as chairman of this meeting, calls the roll. Pogner, addressing the assembly, announces his offer of his daughter's hand for the winner of the song contest. When Hans Sachs argues that Eva ought to have a say in the matter, Pogner agrees that Eva may refuse the winner of the contest, but she must still marry a mastersinger. Another suggestion by Sachs, that the townspeople, rather than the masters, should be called upon to judge the winner of the contest, is rejected by the other masters. Pogner formally introduces Walther as a candidate for admission into the masterguild. Questioned by Kothner about his background, Walther states that his teacher in poetry was
1313:
him with the verses and asks if he wrote them. Sachs confirms that the handwriting is his, but does not clarify that he was not the author but merely served as scribe. However, he goes on to say that he has no intention of wooing Eva or entering the contest, and he presents the manuscript to
Beckmesser as a gift. He promises never to claim the song for his own, and warns Beckmesser that it is a very difficult song to interpret and sing. Beckmesser, his confidence restored by the prospect of using verses written by the famous Hans Sachs, ignores the warning and rushes off to prepare for the song contest. Sachs smiles at Beckmesser's foolishness but expresses hope that Beckmesser will learn to be better in the future.
1172:, maliciously noting one violation after another. When Beckmesser has completely covered the slate with symbols of Walther's errors, he interrupts the song and argues that there is no point in finishing it. Sachs tries to convince the masters to let Walther continue, but Beckmesser sarcastically tells Sachs to stop trying to set policy and instead, to finish making his (Beckmesser's) new shoes, which are overdue. Raising his voice over the masters' argument, Walther finishes his song, but the masters reject him and he rushes out of the church.
1904:, who valorized the music of Brahms and held Wagner's music in low regard. We know that the original name of the Beckmesser character was "Veit Hanslich," and we know that Wagner invited Hanslick to his initial reading of the libretto, though whether then the character still had the "Hanslich" name when Hanslick heard it is unclear. This second interpretation of Beckmesser may dovetail with the antisemitism interpretation above, as Wagner attacked Hanslick as "of gracefully concealed Jewish origin" in his revised edition of his essay
2079:
1965:
1428:
895:
55:
1322:
only an ending. Eva cries out as
Walther enters the room, splendidly attired for the festival, and sings the third and final section of the Prize Song. The couple are overwhelmed with gratitude for Sachs, and Eva asks Sachs to forgive her for having manipulated his feelings. The cobbler brushes them off with bantering complaints about his lot as a shoemaker, poet, and widower. At last, however, he admits to Eva that, despite his feelings for her, he is resolved to avoid the fate of
4149:
4159:
4169:
567:
any more. Despite these problems, the premiere was a triumph, and the opera was hailed as one of Wagner's most successful works. At the end of the first performance, the audience called for Wagner, who appeared at the front of the Royal box, which he had been sharing with King Ludwig. Wagner bowed to the crowd, breaking court protocol, which dictated that only the monarch could address an audience from the box.
212:) and is also unusual among his works in being set in a historically well-defined time and place rather than in a mythical or legendary setting. It is the only mature Wagner opera based on an entirely original story, and in which no supernatural or magical powers or events feature. It incorporates many of the operatic conventions that Wagner had railed against in his essays on the theory of opera: rhymed verse,
4640:
3503:
3491:
3479:
3459:
3447:
3435:
3423:
3408:
3380:
3368:
3356:
1206:, and its accompanying garlands of flowers and ribbons ("Johannistag! Johannistag!"). David informs Magdalena of Walther's failure. In her disappointment, Magdalena leaves without giving David the food she had brought for him. This arouses the derision of the other apprentices, and David is about to turn on them when Sachs arrives and hustles his apprentice into the workshop.
1133:), tomorrow. Eva's maid, Magdalena, gets David, Hans Sachs's apprentice, to tell Walther about the mastersingers' art. The hope is for Walther to qualify as a mastersinger during the guild meeting, traditionally held in the church after Mass, and thus earn a place in the song contest despite his utter ignorance of the master-guild's rules and conventions.
1446:
1129:, addresses Eva Pogner, whom he had met earlier, and asks her if she is engaged to anyone. Eva and Walther have fallen in love at first sight, but she informs him that her father, the goldsmith and mastersinger Veit Pogner, has arranged to give her hand in marriage to the winner of the guild's song contest on Saint John's Day (
364:. In this philosophy, art is a means for escaping from the sufferings of the world, and music is the highest of the arts since it is the only one not involved in representation of the world (i.e. it is abstract). It is for this reason that music can communicate emotion without the need for words. In his earlier essay
1942:
Hans Sachs refers to himself as a widower in the course of the drama, which is set on June 23 and 24 (St. John's Eve and St. John's Day). The historic Sachs's first wife died in 1560, and he remarried on
September 2, 1561; therefore, the drama can be fairly precisely set on either June 23/24, 1560 or
1303:
Sachs gives
Walther an interactive lesson on the history and philosophy of music and mastersinging, and teaches him to moderate his singing according to the spirit (if not the strict letter) of the masters' rules. Walther demonstrates his understanding by composing two sections of a new Prize Song in
1235:
Eva approaches Sachs, and they discuss tomorrow's song contest. Eva is unenthusiastic about
Beckmesser, who appears to be the only eligible contestant. She hints that she would not mind if Sachs, a widower, were to win the contest. Though touched, Sachs protests that he would be too old a husband for
1567:
Beware! Evil tricks threaten us; if the German people and kingdom should one day decay, under a false, foreign rule, soon no prince would understand his people; and foreign mists with foreign vanities they would plant in our German land; what is German and true none would know, if it did not live in
1312:
Beckmesser, still sore from his drubbing the night before, enters the workshop. He spots the verses of the Prize Song, written in Sachs's handwriting, and infers (erroneously) that Sachs is secretly planning to enter the contest for Eva's hand. The cobbler re-enters the room and
Beckmesser confronts
1150:
The first mastersingers file into the church, including Eva's wealthy father Veit Pogner and the town clerk
Beckmesser. Beckmesser, a clever technical singer who was expecting to win the contest without opposition, is distressed to see that Walther is Pogner's guest and intends to enter the contest.
1141:
As the other apprentices set up the church for the meeting, David warns
Walther that it is not easy to become a mastersinger; it takes many years of learning and practice. David gives a confusing lecture on the mastersingers' rules for composing and singing. (Many of the tunes he describes were real
566:
at the premiere, despite his often-expressed dislike of Wagner, who was present at many of the rehearsals. Wagner's frequent interruptions and digressions made rehearsals a very long-winded affair. After one 5 hour rehearsal, Franz Strauss led a strike by the orchestra, saying that he could not play
1480:
and fails to fit them to an appropriate melody, and ends up singing so clumsily that the crowd laughs him off. Before storming off in anger, he yells that the song was not even his: Hans Sachs tricked him into singing it. The crowd is confused. How could the great Hans Sachs have written such a bad
1155:
whose works he studied in his own private library in Franconia, and his teachers in music were the birds and nature itself. Reluctantly the masters agree to admit him, provided he can perform a master-song of his own composition. Walther chooses love as the topic for his song and therefore is to be
307:
Out of this situation evolved an uproar, which through the shouting and clamour and an inexplicable growth in the number of participants in the struggle soon assumed a truly demoniacal character. It looked to me as if the whole town would break out into a riot...Then suddenly I heard a heavy thump,
195:
of various trades. The master singers had developed a craftsmanlike approach to music-making, with an intricate system of rules for composing and performing songs. The work draws much of its atmosphere from its depiction of the Nuremberg of the era and the traditions of the master-singer guild. One
1321:
Eva arrives at the workshop. She is looking for Walther, but pretends to have complaints about a shoe that Sachs made for her. Sachs realizes that the shoe is a perfect fit, but pretends to set about altering the stitching. As he works, he tells Eva that he has just heard a beautiful song, lacking
1257:
As Eva and Walther retreat further into the shadows, Beckmesser begins his serenade. Sachs interrupts him by launching into a full-bellied cobbling song, and hammering the soles of the half-made shoes. Annoyed, Beckmesser tells Sachs to stop, but the cobbler replies that he has to finish tempering
1214:
Pogner arrives with Eva, engaging in a roundabout conversation: Eva is hesitant to ask about the outcome of Walther's application, and Pogner has private doubts about whether it was wise to offer his daughter's hand in marriage for the song contest. As they enter their house, Magdalena appears and
1488:
They declare Walther the winner, and the mastersingers want to make him a member of their guild on the spot. At first Walther is tempted to reject their offer, but Sachs intervenes once more and explains that art, even ground-breaking, contrary art like Walther's, can only exist within a cultural
1248:
Just as Eva is about to leave, Walther appears. He tells her that he has been rejected by the mastersingers, and the two prepare to elope. However, Sachs has overheard their plans. As they are passing by, he illuminates the street with his lantern, forcing them to hide in the shadow of Pogner's
445:
in 1861 with a quite different philosophical outlook from that which he held when he developed his first draft. The character of Hans Sachs became one of the most Schopenhauerian of Wagner's creations. Wagner scholar Lucy Beckett has noted the remarkable similarity between Wagner's Sachs and
281:
I had formed a particularly vivid picture of Hans Sachs and the mastersingers of Nuremberg. I was especially intrigued by the institution of the Marker and his function in rating master-songs ... I conceived during a walk a comic scene in which the popular artisan-poet, by hammering upon his
913:
368:(Opera and Drama) (1850–1) Wagner had derided staples of operatic construction: arias, choruses, duets, trios, recitatives, etc. As a result of reading Schopenhauer's ideas about the role of music, Wagner re-evaluated his prescription for opera, and included many of these elements in
1489:
tradition, which tradition the art sustains and improves. Walther is convinced; he agrees to join. Pogner places the symbolic master-hood medal around his neck, Eva takes his hand, and the people sing once more the praises of Hans Sachs, the beloved mastersinger of Nuremberg.
1286:
As morning dawns, Sachs is reading a large book. Lost in thought, he does not respond as David returns from delivering Beckmesser's shoes. David finally manages to attract his master's attention, and they discuss the upcoming festivities – it is Saint John's day, Hans Sachs's
1236:
her. Upon further prompting, Sachs describes Walther's failure at the guild meeting. This causes Eva to storm off angrily, confirming Sachs's suspicion that she has fallen in love with Walther. Eva is intercepted by Magdalena, who informs her that Beckmesser is coming to
1481:
song? Sachs tells them that the song is not his own, and also that it is in fact a beautiful song which the masters will love when they hear it sung correctly. To prove this, he calls a witness: Walther. The people are so curious about the song (correctly worded as
450:
We always picture a very noble character to ourselves as having a certain trace of silent sadness... It is a consciousness that has resulted from knowledge of the vanity of all achievements and of the suffering of all life, not merely of one's own. (Schopenhauer:
1896:
Although the score calls for Beckmesser to rush off in a huff after his self-defeating attempt to sing Walther's song, in some productions he remains and listens to Walther's correct rendition of his song, and shakes hands with Sachs after the final monologue.
1332:, in which an old man tries to marry a much younger woman), thus conferring his blessing upon the lovers. David and Magdalena appear. Sachs announces to the group that a new master-song has been born, which, following the rules of the mastersingers, is to be
1444:
1304:
a more acceptable style than his previous effort from Act I. Sachs writes down the new verses as Walther sings them. A final section remains to be composed, but Walther postpones the task. The two men leave the room to dress for the festival.
1417:(Dance of the Apprentices). The mastersingers themselves then grandly arrive: the Procession of the Masters. The crowd sings the praises of Hans Sachs, the most beloved and famous of the mastersingers; here Wagner provides a rousing chorus,
1512:
after the premiere: "Dazzling scenes of colour and splendour, ensembles full of life and character unfold before the spectator's eyes, hardly allowing him the leisure to weigh how much and how little of these effects is of musical origin."
1437:
1266:
Prelude, a meditative orchestral introduction using music from two key episodes to be heard in act 3: Sachs's scene 1 monologue "Wahn! Wahn!" and the "Wittenberg Nightingale" quasi-chorale sung by the townspeople to greet Sachs in scene 5.
1445:
911:
282:
cobbler's last, gives the Marker, who is obliged by circumstances to sing in his presence, his come-uppance for previous pedantic misdeeds during official singing contests, by inflicting upon him a lesson of his own.
1882:
support the thesis that with the character of Beckmesser, Wagner did not intend to allude to Jewish stereotypes, but rather to criticize (academic) pedantism in general. They point out similarities to the figure of
912:
1791:, the composer's grandson, attempted to distance the work from German nationalism by presenting it in almost abstract terms, by removing any reference to Nuremberg from the scenery. The production was dubbed
308:
and as if by magic the whole crowd dispersed in every direction...One of the regular patrons had felled one of the noisiest rioters ... And it was the effect of this which had scattered everybody so suddenly.
403:
which causes the riot in Act II – a sequence of events arising from a case of mistaken identity, which can be seen as a form of self-delusion. Commentators have observed that in his famous Act III monologue
1860:, another of the composer's great-granddaughters, contends that Beckmesser is principally the victim of sadism, "which is inseparable from the syndrome that also produces violent fascism".
461:
The other distinctive manifestation of Sachs's character – his calm renunciation of the prospect of becoming a suitor for Eva's love – is also deeply Schopenhauerian. Sachs here denies the
904:
1421:, using words written by the historical Sachs himself, in a chorale-like four-part setting, relating it to the chorales of the "Wittenberg Nightingale" (a metaphor for Martin Luther).
1271:
3000:
Ring und Graal. Texte, Kommentare und Interpretationen zu Richard Wagners »Der Ring des Nibelungen«, »Tristan und Isolde«, »Die Meistersinger von Nürnberg« und »Parsifal«
303:
In addition to this, Wagner added a scene drawn from his own life, in which a case of mistaken identity led to a near-riot: this was to be the basis for the finale of Act II.
1223:
As twilight falls, Hans Sachs takes a seat in front of his house to work on new shoes for Beckmesser. He muses about Walther's song, which has made a deep impression on him (
3182:
1568:
the honour of German masters. Therefore I say to you: honour your German masters, then you will conjure up good spirits! And if you favour their endeavours, even if the
4162:
4205:
1291:. David recites his verses for Sachs, and leaves to prepare for the festival. Alone, Sachs ponders last night's riot. "Madness! Madness! Everywhere madness!" (
1837:
and that Beckmesser embodied these unmistakable antisemitic characteristics. Millington's article spurred significant debate among Wagner scholars including
150:. It is the longest opera commonly performed, taking nearly four and a half hours, not counting two breaks between acts, and is traditionally not cut. With
4214:
539:
was later to write: "When future generations seek refreshment in this unique work, may they spare a thought for the tears from which the smiles arose."
1814:
2630:
1554:
German art. Hans Sachs's final warning at the end of Act III on the need to preserve German art from foreign threats was a rallying point for German
1340:
with the traditional cuff on the ear (and by this also "promoting" him as a groom and Magdalena as a bride). He then christens the Prize Song the
4068:
3027:, program book of the Bayerische Staatsoper / Munich, München (Bayerische Staatsoper) 1979 (essays by Peter Wapnewski, Hans Mayer, Stefan Kunze,
1868:
4058:
3285:
2859:
3490:
2945:
Wagner-Forschung versus Verdi-Forschung ─ Anmerkungen zum unterschiedlichen Entwicklungsstand zweier musikwissenschaftlicher Teildisziplinen
1917:
4705:
3202:
1659:
1360:
Almost an act in itself, this scene occupies about 45 minutes of the two hours of act 3 and is separated from the preceding four scenes by
1856:, was asked whether she believed Wagner relied on Jewish stereotypes in his operas. Her response was, "With Beckmesser he probably did."
4198:
1295:) His attempt to prevent an elopement had ended in shocking violence. Nevertheless, he is resolved to make madness work for him today.
1142:
master-tunes from the period.) Walther is confused by the complicated rules, but is determined to try for a place in the guild anyway.
3167:
3188:
1375:
Various guilds enter boasting of their contributions to Nürnberg's success; Wagner depicts three of them: the Cobblers, whose chorus
465:
in its supposedly most insistent form, that of sexual love. Wagner marks this moment with a direct musical and textual reference to
4114:
3265:
3734:
3235:
2928:
Richard Wagners »Die Meistersinger von Nürnberg«. Studien und Materialien zur Entstehungsgeschichte des ersten Aufzugs (1861–1866)
2897:
Richard Wagners »Meistersinger von Nürnberg«. Literatur- und kulturwissenschaftliche Lektüren zu Künstlertum und Kunstproduktion
1748:
propaganda. On 21 March 1933, the founding of the Third Reich was celebrated with a performance of the opera in the presence of
1476:
The prize contest begins. Beckmesser attempts to sing the verses that he had obtained from Sachs. However, he garbles the words
3290:
1642:
3355:
4191:
2956:
2833:
2773:
2751:
2533:
1168:), breaking all the mastersingers' rules, and his song is constantly interrupted by the scratch of Beckmesser's chalk on his
3193:
477:("My child, I know a sad tale of Tristan and Isolde. Hans Sachs was clever and did not want anything of King Marke's lot.")
474:
Mein Kind, von Tristan und Isolde kenn' ich ein traurig Stück. Hans Sachs war klug und wollte nichts von Herrn Markes Glück.
4172:
3225:
3076:
453:
206:
occupies a unique place in Wagner's oeuvre. It is the only comedy among his mature operas (he had come to reject his early
2964:
The Intellectual Challenge of Staging Wagner: Staging Practice at Bayreuth Festival from Wieland Wagner to Patrice Chéreau
501:
on 2 November 1862, conducted by the composer. Composition of Act I was begun in spring of 1863 in the Viennese suburb of
4665:
3407:
3092:
2868:
Pluristilismo e intertestualità: I »Preislieder« nei »Meistersinger von Nürnberg« e nella »Ariadne auf Naxos«
290:, called "Die Wittenbergisch Nachtigall" (The Wittenberg Nightingale). The opening lines for this poem, addressing the
1540:, and in Vienna, with Berlin following in 1870. It was one of the most popular and prominent German operas during the
1502:
was enthusiastically received at its premiere in 1868, and was judged to be Wagner's most immediately appealing work.
4660:
4420:
2791:
2711:
2689:
2673:
2657:
2619:
2580:
2368:
2148:
2218:
1831:?" that common antisemitic stereotypes prevalent in 19th-century Germany were a part of the "ideological fabric" of
3458:
1369:
2570:
4690:
4670:
4384:
1781:
with Nazism led to one of the most controversial stage productions of the work. The first Bayreuth production of
3014:»Schlank und wirkungsvoll«. Giacomo Puccini und die italienische Erstaufführung der »Meistersinger von Nürnberg«
4685:
4129:
3744:
3611:
3478:
3140:, »Ausstellungskatalog des Germanischen Nationalmuseums Nürnberg«, Nürnberg (Germanisches Nationalmuseum) 1981.
2881:, »Ausstellungskatalog des Germanischen Nationalmuseums Nürnberg«, Nürnberg (Germanisches Nationalmuseum) 1981.
4700:
3618:
3400:
996:
3522:
3258:
2422:
2048:
3229:
3868:
3825:
1086:
232:
3113:
3009:, Oxford University Press, New York, 1940. An account of the origins, creation and meaning of the opera.
2735:, »Gesammelte Schriften«, vol. 13, Frankfurt (Suhrkamp) 1971; English translation (Rodney Livingstone):
1240:
her. Eva, determined to search for Walther, tells Magdalena to pose as her (Eva) at the bedroom window.
4630:
4183:
3625:
3542:
1905:
1152:
410:(Madness! Madness!, Everywhere madness!), Sachs paraphrases Schopenhauer's description of the way that
17:
3434:
3350:
3232:. A comprehensive website featuring photographs of productions, recordings, librettos and sound files.
286:
Gervinus' book also mentions a poem by the real-life Hans Sachs on the subject of Protestant reformer
4336:
4313:
3840:
3604:
3422:
1622:
1249:
house. Walther makes up his mind to confront Sachs, but is interrupted by the arrival of Beckmesser.
383:
is a comedy, it also elucidates Wagner's ideas on the place of music in society, on renunciation of
4492:
3367:
1676:
4124:
3714:
2223:
1626:
270:
134:
2006:(1879). "32. Die wittenbergische Nachtigall, die man jetzt höret überall". In Karl Pannier (ed.).
4152:
4119:
4079:
4013:
4008:
3402:
3251:
879:
Citizens of all guilds and their wives, journeymen, apprentices, young women, people of Nuremberg
543:
521:
155:
139:
108:
2007:
300:" (Awake, the dawn is drawing near; I hear, singing in the green grove, a blissful nightingale)
4539:
4509:
4437:
4413:
4401:
4377:
4289:
4282:
4258:
3830:
2121:
Richard Sternfeld, preface to the complete vocal and orchestral score, Dover Publications, 1976
1593:") is a catch-all term denoting "French and/or Italian." Wagner here referred to the court of
1541:
1378:
1336:. As an apprentice cannot serve as a witness for the baptism, he promotes David to the rank of
505:, but the opera in its entirety was not finished until October 1867, when Wagner was living at
2268:
1605:
was soon performed outside Germany as well, spreading throughout Europe and around the world:
4695:
4480:
4241:
4091:
3685:
3446:
3379:
3208:
2853:
Lydia Goehr, "»– wie ihn uns Meister Dürer gemalt!«: Contest, Myth, and Prophecy in Wagner's
2472:
2061:
1215:
tells Eva about the rumours of Walther's failure. Eva decides to ask Sachs about the matter.
949:
630:
4558:
3804:
3362:
2879:
Die Meistersinger und Richard Wagner. Die Rezeptionsgeschichte einer Oper von 1868 bis heute
2024:
514:
324:
4675:
4516:
4318:
4306:
3985:
3977:
3502:
3453:
2451:
2436:
1817:
advanced the idea that Beckmesser represents a Jewish stereotype, whose humiliation by the
547:
163:
2816:
Der Wahnmonolog des Hans Sachs und das Problem der Entwicklungsform im musikalischen Drama
2318:
297:
Wacht auf, es nahet gen den Tag; ich hör' singen im grünen Hag ein wonnigliche Nachtigall.
8:
4301:
4023:
3918:
3646:
3639:
3175:
2556:
1806:
1754:
1594:
1559:
1544:
in 1871, and in spite of the opera's overall warning against cultural self-centeredness,
1352:– musically capping the first four scenes of act 3 – the group departs for the festival.
1090:
357:
246:
2464:
Zaenker, Karl A. "The Bedeviled Beckmesser: Another Look at Anti-Semitic Stereotypes in
1485:) that they allow Walther to sing it, and everyone is won over in spite of its novelty.
312:
This first draft of the story was dated "Marienbad 16 July 1845". Wagner later said, in
277:(History of German Poetry). This work included chapters on mastersong and on Hans Sachs.
4570:
4444:
4348:
4277:
4265:
4103:
4045:
3850:
3597:
3473:
3032:
2400:
2230:
2199:
2182:
1842:
1328:
612:
527:
467:
435:
174:
2746:, Verlag des Germanisches Nationalmuseum|Germanischen Nationalmuseums, Nürnberg 2013,
2486:
196:
of the main characters, the cobbler-poet Hans Sachs, is based on a historical figure,
4611:
4575:
4563:
3951:
3820:
3562:
3441:
3374:
3088:
3072:
2952:
2829:
2787:
2769:
2757:
2747:
2728:
2707:
2685:
2669:
2653:
2615:
2576:
2552:
2529:
2383:
2364:
2144:
1864:
1853:
1810:
1716:
1569:
703:
462:
388:
2940:
2744:
Wagner – Nürnberg – Meistersinger: Richard Wagner und das reale Nürnberg seiner Zeit
594:
551:
427:
driven into flight he believes he is hunting, and does not hear his own cry of pain:
151:
4534:
4468:
4396:
3958:
3898:
3883:
3530:
3321:
2548:
2392:
2191:
1849:
1759:
1752:. The prelude to Act III is played over shots of old Nuremberg at the beginning of
1323:
1118:
1110:
708:
502:
208:
192:
191:(Master Singers), an association of amateur poets and musicians who were primarily
669:
4680:
4616:
4604:
4592:
4551:
4527:
4497:
4485:
4473:
4449:
4425:
4389:
4365:
4353:
4341:
4294:
4270:
4246:
4234:
4052:
4018:
3913:
3908:
3863:
3835:
3815:
3653:
3572:
3028:
2839:
2825:
2779:
2607:
2449:
Rose, Paul Lawrence. "The Wagner Problem in the History of German antisemitism."
2176:(Summer 1992). "Constructing Nuremberg: Typological and Proleptic Communities in
1901:
1879:
1873:
1733:
1503:
1275:
559:
513:. These years were some of Wagner's most difficult: the 1861 Paris production of
2886:
Richard Wagner ─ ein Dichter? Marginalien zum Opernlibretto des 19. Jahrhunderts
2799:
Richard Wagner, »Die Meistersinger von Nürnberg«. Texte, Materialien, Kommentare
1900:
A related view holds that Beckmesser was designed to parody the renowned critic
420:
in Flucht geschlagen, wähnt er zu jagen; hört nicht sein eigen Schmerzgekreisch,
3903:
3858:
3810:
3552:
3274:
3115:
The Master-Singers of Nuremberg: Book of Words (Libretto in German and English)
2434:
Vaget, Hans Rudolf. "Wagner, Anti-Semitism, and Mr. Rose: Merkwürd'ger Fall!",
1788:
1457:
651:
294:, were later used by Wagner in Act III Scene 5 when the crowd acclaims Sachs: "
147:
59:
54:
46:
3429:
3047:
Opera and Novel ending together: »Die Meistersinger« and »Doktor Faustus«
4654:
4253:
4109:
4085:
3942:
3878:
3678:
3417:
2811:, Regensburg (Bosse) 1971, 2. Auflage: München/Kassel (dtv/Bärenreiter) 1990.
2804:
1889:
1838:
1664:
1365:
1203:
1181:
Evening. On the street corner by Pogner's and Sachs's houses. A linden tree (
1056:
1052:
685:
555:
536:
429:
when he tears into his own flesh, he imagines he is giving himself pleasure!
287:
187:
3214:. A gallery of historic postcards with motives from Richard Wagner's operas.
2828:, "Wagner Beyond Good and Evil", Berkeley/CA (California Univ. Press) 2008,
1825:. Millington argued in his 1991 "Nuremberg Trial: Is There Anti-Semitism in
531:
was abandoned after 77 rehearsals, and finally in 1866 Wagner's first wife,
4644:
4461:
4097:
3935:
3888:
3873:
3778:
3724:
3581:
3171:
2909:
2699:
2350:. Trans. Ewald Osers and Michael Downes. London: Phoenix, 2001. pp. 100–101
2173:
1822:
1800:
1763:
1749:
1685:
1000:
734:
532:
4456:
2227:(in German), vol. 22, Berlin: Duncker & Humblot, pp. 330–332
4372:
4028:
3893:
3783:
3145:
Die Meistersinger von Nürnberg. Richard Wagners Dichtung und ihre Quellen
2904:
Wagners Welten. Katalog zur Ausstellung im Münchner Stadtmuseum 2003–2004
2645:
1857:
1720:
1646:
1555:
1040:
1023:
1019:
967:
563:
291:
178:
143:
42:
4213:
3222:
1572:
should dissolve in mist, for us there would yet remain holy German Art!
1516:
Within a year of the premiere the opera was performed across Germany at
4546:
4073:
3754:
3058:
Wehvolles Erbe. Zur »Metapolitik« der »Meistersinger von Nürnberg«
2417:
2404:
2003:
1818:
1728:
was performed. The audience rose to its feet during Hans Sachs's final
1551:
1468:
1453:
1337:
1169:
928:
690:
676:
586:
361:
333:
197:
3162:
2968:
Mettere in scena Wagner. Opera e regia fra Ottocento e contemporaneità
2203:
4522:
4432:
4229:
4134:
4063:
3692:
3101:
2514:. Trans. Ewald Osers and Michael Downes. London: Phoenix, 2001 p. 101
1772:
was the only opera presented at the Bayreuth festivals of 1943–1944.
1525:
1130:
1126:
1101:
After the prelude, a church service is just ending with a singing of
1094:
1069:
1044:
988:
640:
506:
329:
266:
170:
4587:
2937:, vol. 3, Berlin (Max Hesse) 1931, Reprint Tutzing (Schneider) 1966.
2396:
1193:
or lilac-tree) before Sachs's. Apprentices are closing the shutters.
422:
wenn er sich wühlt ins eig'ne Fleisch, wähnt Lust sich zu erzeigen!
3497:
3314:
2497:
2195:
1884:
1529:
1333:
1288:
1237:
1157:
1114:
975:
957:
664:
494:
490:
486:
262:
493:
while living in Paris in 1862, and followed this by composing the
4360:
3632:
3243:
1729:
1537:
1517:
1348:). After celebrating their good fortune with an extended quintet
1190:
1036:
984:
971:
961:
945:
607:
510:
498:
221:
1270:
1202:
The apprentices sing joyfully about St. John's Day, also called
4599:
4408:
3328:
1533:
1521:
1438:"Morgenlich leuchtend im rosigen Schein" (Walther's Prize song)
1122:
1011:
992:
225:
159:
112:
4158:
3199:
Includes a synopsis, list of leitmotifs and complete libretto.
1182:
1106:
1015:
646:
625:
416:
drives a person to behave in ways that are self-destructive:
391:), and on the solace that music can bring in a world full of
217:
182:
4639:
3071:, Rochester, New York (University of Rochester Press) 2002,
3069:
Wagner's Meistersinger. Performance, History, Representation
2572:
Wagner's Meistersinger: Performance, History, Representation
1852:, the composer's great-granddaughter and co-director of the
2381:
Millington, Barry (December 1996). "Wagner Washes Whiter".
2091:
1745:
1185:
or lime-tree or basswood) stands outside Pogner's house, a
1048:
1005:
979:
953:
546:, Munich, on 21 June 1868. The production was sponsored by
213:
2631:"The Mastersingers of Nuremberg and St Catherine's Church"
2236:
2103:
1156:
judged by Beckmesser alone, the "Marker" of the guild for
348:: the link being that both operas included song-contests.
231:
The autograph manuscript of the opera is preserved in the
154:
conducting, it was first performed on 21 June 1868 at the
3236:
Libretto according to the 1971 edition of Wagner's operas
2706:. Cambridge Opera Handbooks. Cambridge University Press.
2361:
The Wagner Compendium: A Guide to Wagner's Life and Music
1952:
St Catherine's was destroyed in 1945 during World War II.
181:
in Northern Europe. The story revolves around the city's
2559:'s production at Darmstadt (2008) and Gothenburg (2010).
1801:
Criticisms of Beckmesser as a possible antisemitic trope
3118:. Translated by H. and F. Corder. New York: F. Rullman.
322:
was to be a comic opera to follow a tragic opera, i.e.
2762:
Das Theater Richard Wagners. Idee ─ Dichtung ─ Wirkung
2299:
2287:
2248:
173:
in the mid-16th century. At the time, Nuremberg was a
4628:
3163:
Wagner's autograph in the Germanisches Nationalmuseum
2848:
Das Drama Richard Wagners als musikalisches Kunstwerk
1326:(a reference to the subject of another Wagner opera,
4215:
Laurence Olivier Award for Best New Opera Production
200:(1494–1576), the most famous of the master-singers.
2555:, manufactured by Public Media Homevision. Also in
2526:
Wagnerspectrum: Schwerpunkt Wagner und das Komische
2216:
3124:Der traurige Gott. Richard Wagner in seinen Helden
2266:
1762:depicting the Nazi party congress of 1934. During
1632:Hungary: 8 September 1883, Budapest (in Hungarian)
360:, and was struck by the philosopher's theories on
3106:»Wagner und kein Ende«. Betrachtungen und Studien
1821:Walther is an onstage representation of Wagner's
1681:Russia: 15 March 1898, St. Petersburg (in German)
1164:), Walther launches into a novel free-form tune (
4652:
3626:Das Judenthum in der Musik (Jewishness in Music)
2988:, Anif/Salzburg (Müller-Speiser) 1989, pp. 9–84.
2764:, Stuttgart (Reclam) 1982; English translation:
519:was a fiasco, Wagner gave up hope of completing
4069:List of films using the music of Richard Wagner
3970:
2768:, Princeton (Princeton University Press) 2003,
2154:
2141:Richard Wagner: his life, his work, his Century
1395:; and the Bakers, who cut the tailors off with
3040:Richard Wagner. Die Meistersinger von Nürnberg
2930:, Göttingen (Vandenhoeck & Ruprecht) 2001.
1787:following World War II occurred in 1956, when
1615:Denmark: 23 March 1872, Copenhagen (in Danish)
1072:, towards the middle of the sixteenth century.
4199:
4059:International Association of Wagner Societies
3670:
3259:
3002:, Würzburg (Königshausen & Neumann) 2002.
2860:Journal of the American Musicological Society
2786:, New Haven/CT (Yale University Press) 2006,
1597:, where French rather than German was spoken.
446:Schopenhauer's description of the noble man:
3085:Disturbing the Universe: Wagner's Musikdrama
2684:. Translated by Andrew Gray. Da Capo Press.
2512:The Wagners: The Dramas of a Musical Dynasty
2488:
2465:
2440:, vol. 66, no. 2 (Spring 1993). pp. 222–236.
2348:The Wagners: The Dramas of a Musical Dynasty
1998:
1996:
1832:
1826:
1805:Beckmesser has been widely criticized as an
1792:
1782:
1776:
1767:
1739:
1723:
1675:France: 30 December 1896, Lyon (in French),
1652:Sweden: 2 April 1887, Stockholm (in Swedish)
1588:
1581:
1545:
1507:
1497:
936:
919:Performed by the Skidmore College Orchestra.
472:
440:
411:
405:
398:
392:
378:
369:
351:
343:
337:
317:
316:(1851) (A Communication to my Friends) that
295:
256:
244:
123:
2914:Richard Wagner. Von der Oper zum Musikdrama
2890:Richard Wagner. Von der Oper zum Musikdrama
2809:Wagners Konzeption des musikalischen Dramas
2455:, vol 68, no. 3 (Summer 1995). pp. 304–305.
1655:Italy: 26 December 1889, Milan (in Italian)
1638:Belgium: 7 March 1885, Brussels (in French)
1350:(Selig, wie die Sonne meines Glückes lacht)
4206:
4192:
3306:
3266:
3252:
2935:Das Geheimnis der Form bei Richard Wagner
2610:(1994). "Die Meistersinger von Nürnberg".
2476:, vol 22, no. 1 (February 1999). pp. 1–20.
2380:
1364:, a transforming interlude. Meadow by the
480:
53:
3189:International Music Score Library Project
3131:Richard Wagner. Die Szene und ihr Meister
2984:, in: Ulrich Müller/Ursula Müller (ed.),
2966:, in: Marco Brighenti/Marco Targa (ed.),
2892:, Bern/München (Francke) 1978, pp. 79–94.
2614:(in German). Cambridge University Press.
2528:(in German). Königshausen & Neumann.
1993:
1809:, ever since the idea was put forward by
1641:United States: 4 January 1886, New York,
941:is scored for the following instruments:
497:. The overture was publicly performed in
397:(delusion, folly, self-deception). It is
2951:, Wien/Köln (Böhlau) 2014, pp. 263–291,
2906:, München/Wolfratshausen (Minerva) 2003.
2874:, 2/1993; Olschki, Firenze, pp. 225–235.
2568:
2523:
1684:Argentina: 6 August 1898, Buenos Aires,
1587:The word translated here as "foreign" ("
1269:
2850:, Regensburg (Bosse) 1970, pp. 303–309.
2698:
2606:
2305:
2293:
2254:
2242:
2097:
2009:Hans Sachs' ausgewählte poetische Werke
1971:
1797:(The Mastersingers without Nuremberg).
1089:(St. Catherine's Church) in Nuremberg,
14:
4653:
2995:, Anif/Salzburg (Müller-Speiser) 1989.
2844:Über den Kontrapunkt der Meistersinger
2797:Attila Csampai/Dietmar Holland (ed.),
2679:
1987:
1982:
1980:
1483:Morgenlich leuchtend im rosigen Schein
238:
138:; "The Master-Singers of Nuremberg"),
135:[diːˈmaɪstɐˌzɪŋɐfɔnˈnʏʁnbɛːɐk]
4187:
3247:
3136:Johannes Karl Wilhelm Willers (ed.),
2766:Drama and the World of Richard Wagner
2644:
2172:
2109:
2085:
2002:
1719:in 1924 following its closure during
1693:Brazil: 3 August 1905, Rio de Janeiro
1621:United Kingdom: 30 May 1882, London,
1618:Netherlands: 12 March 1879, Rotterdam
544:Königliches Hof- und National-Theater
133:
2949:Verdi und Wagner, Kulturen der Oper
1635:Switzerland: 20 February 1885, Basel
454:The World as Will and Representation
332:had followed a tragedy with a comic
4706:Race-related controversies in opera
4168:
2993:Richard Wagner und sein Mittelalter
2991:Ulrich Müller/Ursula Müller (ed.):
2986:Richard Wagner und sein Mittelalter
2628:
2524:Bermbach, Udo; et al. (2007).
2160:
1977:
1699:Finland: 17 November 1921, Helsinki
1658:Spain: 6 March 1894, Madrid, under
1387:; the Tailors, who sing the chorus
1227:, known as the Flieder Monologue).
24:
3273:
2982:Richard Wagner und das Mittelalter
2877:Helmut Grosse/Norbert Götz (ed.),
2721:
2569:Vazsonyi, Nicholas (19 May 2018).
2059:
2022:
1702:Monaco: February 1928, Monte Carlo
1426:
1160:matters. At the signal to begin (
893:
886:
25:
4717:
3152:
3051:Forum for Modern Language Studies
2947:, in: Arnold Jacobshagen (ed.),
2784:Wagner and the Art of the Theatre
2267:Bogart, Richard S. (7 May 2012).
1711:Romania: December 1934, Bucharest
577:Roles, voice types, premiere cast
275:Geschichte der deutschen Dichtung
4638:
4167:
4157:
4148:
4147:
3735:Männerlist größer als Frauenlist
3501:
3489:
3477:
3457:
3445:
3433:
3421:
3406:
3378:
3366:
3354:
3138:Hans Sachs und die Meistersinger
2970:, Lucca (LIM) 2019, pp. 151–174.
2921:Der Kunstbegriff Richard Wagners
2359:Millington, Barry (ed.) (1992).
1708:Australia: March 1933, Melbourne
1705:Yugoslavia: 15 June 1929, Zagreb
1696:South Africa: 1913, Johannesburg
1467:Problems playing this file? See
1442:
927:Problems playing this file? See
909:
525:, the 1864 Vienna production of
314:Eine Mitteilung an meine Freunde
3108:, Zürich/Mainz (Atlantis) 1996.
3087:. Edinburgh: Candle Row Press.
2975:The Opera Goer's Complete Guide
2562:
2542:
2517:
2504:
2479:
2458:
2443:
2428:
2411:
2374:
2353:
2340:
2319:"Wagner Operas – Productions –
2311:
2260:
2210:
2166:
2133:
2124:
2115:
2025:"A Communication to my Friends"
1946:
1936:
1794:Die Meistersinger ohne Nürnberg
1744:was frequently used as part of
1419:Wach' auf, es nahet gen den Tag
811:Nachtwächter, or Nightwatchman
4505:The Mastersingers of Nuremberg
4130:Richard Wagner Museum, Lucerne
3486:Die Meistersinger von Nürnberg
3211:Die Meistersinger von Nürnberg
3184:Die Meistersinger von Nürnberg
3159:Die Meistersinger von Nürnberg
3025:Die Meistersinger von Nürnberg
3007:Wagner and 'Die Meistersinger'
2916:, Bern/München (Francke) 1978.
2855:Die Meistersinger von Nürnberg
2704:Die Meistersinger von Nürnberg
2575:. University Rochester Press.
2467:Die Meistersinger von Nürnberg
2053:
2042:
2016:
2012:. Leipzig: Philipp Reclam jun.
1919:Die Meistersinger von Nürnberg
1736:after the opera had finished.
1690:Portugal: January 1902, Lisbon
1609:Bohemia: 26 April 1871, Prague
938:Die Meistersinger von Nürnberg
542:The premiere was given at the
204:Die Meistersinger von Nürnberg
177:and one of the centers of the
146:, or opera, in three acts, by
125:Die Meistersinger von Nürnberg
72:The Mastersingers of Nuremberg
36:Die Meistersinger von Nürnberg
13:
1:
3619:A Communication to My Friends
3217:For reviews of recordings of
2998:Ulrich Müller/Oswald Panagl,
2363:. Thames and Hudson, London.
2139:Gregor-Dellin, Martin (1983)
1925:
1911:
1612:Livonia: 4 January 1872, Riga
1580:final speech from Act III of
1121:, as Walther von Stolzing, a
866:stocking weaver, mastersinger
558:, the father of the composer
3133:, München (C. H. Beck) 1978.
3126:, München (C. H. Beck) 1978.
2423:The New York Review of Books
2217:Johannes Rettelbach (2005),
1958:
1672:Poland: 3 March 1896, Poznan
1492:
1346:Selige Morgentraumdeut-Weise
1166:So rief der Lenz in den Wald
433:Following the completion of
27:1868 opera by Richard Wagner
7:
4373:The Trojans: Parts I and II
3869:Houston Stewart Chamberlain
3826:Bayreuth Festival Orchestra
3286:List of works for the stage
3147:, Berlin (Dom Verlag) 1921.
2846:, in: Carl Dahlhaus (ed.),
2820:Jahrbuch für Opernforschung
1225:Was duftet doch der Flieder
1063:
591:Premiere cast, 21 June 1868
489:, Wagner began writing the
356:In 1854, Wagner first read
255:) described the genesis of
233:Germanisches Nationalmuseum
10:
4722:
4666:Libretti by Richard Wagner
3543:Das Liebesmahl der Apostel
2923:, Regensburg (Bosse) 1983.
2888:, in: Stefan Kunze (ed.),
2600:
1915:
1558:, particularly during the
1550:became a potent symbol of
1153:Walther von der Vogelweide
764:Bartholomäus Weixlstorfer
4328:
4221:
4143:
4037:
4001:
3927:
3849:
3841:Richard Wagner Foundation
3796:
3771:
3706:
3663:
3605:The Artwork of the Future
3589:
3516:
3393:
3342:
3299:
3281:
3067:Nicholas Vaszonyi (ed.),
3042:, Frankfurt (Insel) 1983.
3038:Michael von Soden (ed.),
2801:, Reinbek (Rowohlt) 1981.
2739:, Manchester (NLB) 1981.
2612:Cambridge Opera Handbooks
2592:– via Google Books.
2551:, 1990, conducted by Sir
2049:Schopenhauer's aesthetics
1389:Als Nürnberg belagert war
1293:Wahn! Wahn! Überall Wahn!
1282:Scene 1: Sachs's workshop
1103:Da zu dir der Heiland kam
877:
852:coppersmith, mastersinger
714:
439:, Wagner resumed work on
352:Influence of Schopenhauer
336:, so Wagner would follow
296:
269:in 1845 he began reading
93:
85:
77:
67:
62:(1843–1905) as Hans Sachs
52:
41:
34:
4661:Operas by Richard Wagner
3715:Die Laune des Verliebten
3203:Opera guide and synopsis
3112:Wagner, Richard (1900).
2680:Wagner, Richard (1992).
2418:"Wagner's Anti-Semitism"
2224:Neue Deutsche Biographie
1930:
1887:in Shakespeare's comedy
1734:"Deutschland über Alles"
1715:At the reopening of the
1643:Metropolitan Opera House
1261:
1175:
1076:
660:town clerk, mastersinger
570:
418:
407:Wahn, Wahn, überall Wahn
271:Georg Gottfried Gervinus
4385:Lady Macbeth of Mtsensk
4120:Wagner-Werk-Verzeichnis
4080:Nietzsche contra Wagner
4014:Richard Wagner Memorial
4009:Richard Wagner Monument
3403:Der Ring des Nibelungen
3351:Der fliegende Holländer
2652:. New York: Owl Books.
1845:, and Karl A. Zaenker.
1397:Hungersnot! Hungersnot!
1385:streck! streck! streck!
1383:uses the signature cry
838:soapmaker, mastersinger
699:goldsmith, mastersinger
522:Der Ring des Nibelungen
481:Completion and premiere
243:Wagner's autobiography
109:National Theatre Munich
4691:German patriotic songs
4671:German-language operas
4540:English National Opera
4510:English National Opera
4493:Les vêpres siciliennes
4438:English National Opera
4414:English National Opera
4402:English National Opera
4378:English National Opera
4283:English National Opera
4259:English National Opera
3831:Bayreuth Festspielhaus
3083:Vernon, David (2021).
2489:
2466:
2273:: Performance History"
1841:, Hans Rudolph Vaget,
1833:
1827:
1807:antisemitic stereotype
1793:
1783:
1777:
1768:
1740:
1724:
1677:Opéra National de Lyon
1589:
1582:
1574:
1546:
1542:Unification of Germany
1508:
1498:
1431:
1278:
937:
898:
824:tinsmith, mastersinger
757:pewterer, mastersinger
637:Walther von Stolzing,
550:and the conductor was
473:
459:
441:
412:
406:
399:
393:
379:
370:
344:
338:
318:
310:
284:
257:
245:
124:
98:21 June 1868
4686:Operas set in Germany
4481:Einstein on the Beach
4421:Pelléas and Mélisande
4242:La damnation de Faust
4092:The Perfect Wagnerite
3686:Ride of the Valkyries
3612:Autobiographic Sketch
3053:48/2012, pp. 208–221.
3023:Klaus Schultz (ed.),
2899:, München (AVM) 2018.
2666:Wagner and Philosophy
2629:Lee, Patrick (2014).
2473:German Studies Review
1848:In a 2009 interview,
1565:
1509:Die Neue Freie Presse
1430:
1273:
1085:Scene 1: Interior of
897:
750:Karl Samuel Heinrich
743:furrier, mastersinger
681:cobbler, mastersinger
485:Having completed the
448:
305:
279:
4701:Nuremberg in fiction
4517:Cavalleria rusticana
4319:Welsh National Opera
4307:Welsh National Opera
3291:List of compositions
3062:Musik & Ästhetik
3018:Musik & Ästhetik
2926:Jörg Linnenbrügger,
2902:Jürgen Kolbe (ed.),
2872:Opera & Libretto
2863:64/2011, pp. 51–118.
2452:The German Quarterly
2437:The German Quarterly
1478:(Morgen ich leuchte)
1413:This leads into the
785:grocer, mastersinger
771:tailor, mastersinger
548:Ludwig II of Bavaria
169:The story is set in
164:Bavarian State Opera
4450:Royal Opera, London
4426:Royal Opera, London
4390:Royal Opera, London
4366:Royal Opera, London
4354:Royal Opera, London
4342:Royal Opera, London
4302:La clemenza di Tito
4295:Royal Opera, London
4271:Royal Opera, London
4247:Royal Opera, London
4235:Royal Opera, London
4024:Wagner Ice Piedmont
3928:Cultural depictions
3919:Eva Wagner-Pasquier
3745:Wieland der Schmied
3647:Music of the Future
3523:Symphony in C major
3176:Library of Congress
3056:Hans Rudolf Vaget,
3020:4/2000, pp. 90–101.
3012:Dieter Schickling,
3005:Rayner, Robert M.:
2884:Klaus Günter Just,
2737:In Search of Wagner
2733:Versuch über Wagner
2490:Hallo, Herr Hitler!
2245:, pp. 137–138.
2143:. William Collins,
1906:Jewishness in Music
1775:The association of
1758:, the 1935 film by
1755:Triumph of the Will
1595:Frederick the Great
1560:Franco-Prussian War
1274:Act 3, painting by
822:Konrad Nachtigall,
799:baker, mastersinger
783:Ulrich Eisslinger,
658:Sixtus Beckmesser,
579:
239:Composition history
4445:Tristan und Isolde
4349:Boulevard Solitude
4278:Tristan und Isolde
4104:Der Ring in Minden
4046:The Case of Wagner
3805:Bayreuther Blätter
3598:Art and Revolution
3517:Non-operatic music
3474:Tristan und Isolde
3205:, opera-inside.com
3064:6/2002, pp. 23–39.
3033:Reinhold Brinkmann
2501:, August 13, 2009.
2183:19th-Century Music
2066:Users.belgacom.net
2029:Users.belgacom.net
1843:Paul Lawrence Rose
1686:Teatro de la Opera
1623:Drury Lane Theatre
1432:
1415:Tanz der Lehrbuben
1391:with the goat cry
1342:Morning Dream Song
1329:Tristan und Isolde
1279:
899:
741:Kunz Vogelgesang,
639:young knight from
621:Sachs's apprentice
613:Mathilde Mallinger
575:
528:Tristan und Isolde
468:Tristan und Isolde
436:Tristan und Isolde
175:free imperial city
4626:
4625:
4576:Royal Opera House
4564:Royal Opera House
4469:Castor and Pollux
4337:The Greek Passion
4314:Hansel and Gretel
4181:
4180:
3997:
3996:
3821:Bayreuth Festival
3797:Bayreuth Festival
3792:
3791:
3767:
3766:
3760:
3759:(1858; text only)
3750:
3749:(1850; text only)
3740:
3730:
3720:
3707:Unfinished operas
3702:
3701:
3578:
3568:
3563:Wesendonck Lieder
3558:
3557:(1844, rev. 1855)
3548:
3538:
3527:
3512:
3511:
3468:
3467:
3389:
3388:
3338:
3337:
3219:Die Meistersinger
3209:Richard Wagner –
3195:Die Meistersinger
3129:Peter Wapnewski:
3122:Peter Wapnewski:
3045:Jeremy Tambling,
2957:978-3-412-22249-9
2834:978-0-520-25453-4
2822:1/1985, pp. 9–25.
2774:978-0-691-11497-2
2758:Dieter Borchmeyer
2752:978-3-936688-74-0
2729:Theodor W. Adorno
2668:, Penguin Books,
2650:The Tristan Chord
2553:Charles Mackerras
2535:978-3-8260-3714-6
2485:Tenenbom, Tuvia.
2384:The Musical Times
2321:Die Meistersinger
2271:Die Meistersinger
2190:(1): 18–34 (31).
2178:Die Meistersinger
2062:"Opera and Drama"
2060:Wagner, Richard.
2023:Wagner, Richard.
1943:June 23/24, 1561.
1865:Dieter Borchmeyer
1854:Bayreuth Festival
1834:Die Meistersinger
1828:Die Meistersinger
1813:. Wagner scholar
1784:Die Meistersinger
1778:Die Meistersinger
1769:Die Meistersinger
1741:Die Meistersinger
1725:Die Meistersinger
1717:Bayreuth Festival
1603:Die Meistersinger
1583:Die Meistersinger
1570:Holy Roman Empire
1547:Die Meistersinger
1499:Die Meistersinger
1447:
1409:bake, bake, bake!
1405:beck! beck! beck!
1393:meck! meck! meck!
1370:Feast of St. John
1362:Verwandlungsmusik
1113:), an impressive
914:
884:
883:
719:Supporting roles:
603:Pogner's daughter
442:Die Meistersinger
380:Die Meistersinger
371:Die Meistersinger
263:Taking the waters
258:Die Meistersinger
120:
119:
16:(Redirected from
4713:
4643:
4642:
4634:
4486:Barbican Theatre
4474:Coliseum Theatre
4397:Madama Butterfly
4208:
4201:
4194:
4185:
4184:
4171:
4170:
4161:
4151:
4150:
4002:Named for Wagner
3971:Film adaptations
3968:
3967:
3899:Siegfried Wagner
3884:Katharina Wagner
3769:
3768:
3758:
3748:
3738:
3728:
3718:
3704:
3703:
3668:
3667:
3576:
3566:
3556:
3546:
3536:
3525:
3505:
3493:
3481:
3461:
3449:
3437:
3425:
3410:
3398:
3397:
3391:
3390:
3382:
3370:
3358:
3340:
3339:
3322:Das Liebesverbot
3304:
3303:
3268:
3261:
3254:
3245:
3244:
3240:
3187:: Scores at the
3143:Franz Zademack,
3119:
3098:
3077:978-158-046168-9
2980:Volker Mertens,
2962:Jürgen Maehder:
2933:Alfred Lorenz,
2717:
2695:
2663:
2641:
2639:
2637:
2625:
2608:Carnegy, Patrick
2594:
2593:
2591:
2589:
2566:
2560:
2549:Australian Opera
2546:
2540:
2539:
2521:
2515:
2508:
2502:
2492:
2483:
2477:
2469:
2462:
2456:
2447:
2441:
2432:
2426:
2415:
2409:
2408:
2378:
2372:
2357:
2351:
2344:
2338:
2337:
2335:
2333:
2327:Wagneroperas.com
2323:, 1956 Bayreuth"
2315:
2309:
2303:
2297:
2291:
2285:
2284:
2282:
2280:
2264:
2258:
2252:
2246:
2240:
2234:
2231:full text online
2228:
2214:
2208:
2207:
2170:
2164:
2158:
2152:
2137:
2131:
2128:
2122:
2119:
2113:
2107:
2101:
2095:
2089:
2083:
2077:
2076:
2074:
2072:
2057:
2051:
2046:
2040:
2039:
2037:
2035:
2020:
2014:
2013:
2000:
1991:
1984:
1975:
1969:
1953:
1950:
1944:
1940:
1877:
1850:Katharina Wagner
1836:
1830:
1815:Barry Millington
1796:
1786:
1780:
1771:
1760:Leni Riefenstahl
1743:
1727:
1668:
1598:
1592:
1585:
1549:
1511:
1501:
1449:
1448:
1429:
1119:Lutheran chorale
1091:Saint John's Eve
1087:Katharinenkirche
940:
916:
915:
896:
873:Leopold Grasser
769:Augustin Moser,
755:Balthasar Zorn,
717:
709:Kaspar Bausewein
580:
578:
574:
476:
444:
415:
409:
402:
396:
382:
373:
347:
341:
321:
299:
298:
260:
250:
209:Das Liebesverbot
193:master craftsmen
162:, today home of
156:National Theater
137:
132:
127:
105:
103:
57:
32:
31:
21:
4721:
4720:
4716:
4715:
4714:
4712:
4711:
4710:
4651:
4650:
4649:
4637:
4629:
4627:
4622:
4617:The Royal Opera
4605:The Royal Opera
4593:The Royal Opera
4582:(2021 Covid-19)
4552:The Royal Opera
4528:The Royal Opera
4498:The Royal Opera
4324:
4217:
4212:
4182:
4177:
4139:
4053:Gesamtkunstwerk
4033:
4019:Wagner (crater)
3993:
3966:
3923:
3914:Wolfgang Wagner
3909:Winifred Wagner
3864:Eva Chamberlain
3845:
3836:Jahrhundertring
3816:Bayreuth Circle
3788:
3763:
3698:
3659:
3654:Opera and Drama
3585:
3573:Siegfried Idyll
3508:
3464:
3454:Götterdämmerung
3385:
3343:Romantic operas
3334:
3300:Complete operas
3295:
3277:
3272:
3238:
3174:, 1862) at the
3155:
3150:
3111:
3095:
3082:
3029:John Deathridge
2977:, 1921 version.
2840:Ludwig Finscher
2826:John Deathridge
2814:Carl Dahlhaus,
2780:Patrick Carnegy
2724:
2722:Further reading
2714:
2692:
2660:
2635:
2633:
2622:
2603:
2598:
2597:
2587:
2585:
2583:
2567:
2563:
2547:
2543:
2536:
2522:
2518:
2509:
2505:
2484:
2480:
2463:
2459:
2448:
2444:
2433:
2429:
2416:
2412:
2397:10.2307/1004263
2379:
2375:
2358:
2354:
2345:
2341:
2331:
2329:
2317:
2316:
2312:
2304:
2300:
2292:
2288:
2278:
2276:
2265:
2261:
2253:
2249:
2241:
2237:
2215:
2211:
2171:
2167:
2159:
2155:
2138:
2134:
2129:
2125:
2120:
2116:
2108:
2104:
2096:
2092:
2084:
2080:
2070:
2068:
2058:
2054:
2047:
2043:
2033:
2031:
2021:
2017:
2001:
1994:
1985:
1978:
1970:
1966:
1961:
1956:
1951:
1947:
1941:
1937:
1933:
1928:
1923:
1914:
1902:Eduard Hanslick
1880:Hermann Danuser
1871:
1803:
1662:
1600:
1586:
1576:
1504:Eduard Hanslick
1495:
1474:
1473:
1465:
1463:
1462:
1461:
1460:
1450:
1443:
1440:
1433:
1427:
1401:Famine, famine!
1276:Ferdinand Leeke
1264:
1178:
1131:Midsummer's Day
1097:'s Eve, June 23
1079:
1066:
934:
933:
925:
923:
922:
921:
920:
917:
910:
907:
900:
894:
889:
887:Instrumentation
836:Hermann Ortel,
817:Ferdinand Lang
797:Fritz Kothner,
715:
592:
576:
573:
560:Richard Strauss
483:
431:
428:
424:
421:
354:
241:
130:
116:
115:
106:
101:
99:
63:
28:
23:
22:
15:
12:
11:
5:
4719:
4709:
4708:
4703:
4698:
4693:
4688:
4683:
4678:
4673:
4668:
4663:
4648:
4647:
4624:
4623:
4621:
4620:
4608:
4596:
4584:
4579:
4567:
4559:Katya Kabanova
4555:
4543:
4531:
4513:
4501:
4489:
4477:
4465:
4453:
4441:
4429:
4417:
4405:
4393:
4381:
4369:
4357:
4345:
4332:
4330:
4326:
4325:
4323:
4322:
4310:
4298:
4286:
4274:
4262:
4250:
4238:
4225:
4223:
4219:
4218:
4211:
4210:
4203:
4196:
4188:
4179:
4178:
4176:
4175:
4165:
4155:
4144:
4141:
4140:
4138:
4137:
4132:
4127:
4122:
4117:
4112:
4107:
4100:
4095:
4088:
4086:Parsifal bells
4083:
4076:
4071:
4066:
4061:
4056:
4049:
4041:
4039:
4035:
4034:
4032:
4031:
4026:
4021:
4016:
4011:
4005:
4003:
3999:
3998:
3995:
3994:
3992:
3991:
3983:
3974:
3972:
3965:
3964:
3956:
3952:Wagner's Dream
3948:
3940:
3931:
3929:
3925:
3924:
3922:
3921:
3916:
3911:
3906:
3904:Wieland Wagner
3901:
3896:
3891:
3886:
3881:
3876:
3871:
3866:
3861:
3859:Isolde Beidler
3855:
3853:
3847:
3846:
3844:
3843:
3838:
3833:
3828:
3823:
3818:
3813:
3811:Bayreuth canon
3808:
3800:
3798:
3794:
3793:
3790:
3789:
3787:
3786:
3781:
3775:
3773:
3765:
3764:
3762:
3761:
3751:
3741:
3731:
3721:
3710:
3708:
3700:
3699:
3697:
3696:
3689:
3682:
3674:
3672:
3671:Opera excerpts
3665:
3661:
3660:
3658:
3657:
3650:
3643:
3636:
3629:
3622:
3615:
3608:
3601:
3593:
3591:
3587:
3586:
3584:
3579:
3569:
3559:
3553:Faust Overture
3549:
3539:
3528:
3520:
3518:
3514:
3513:
3510:
3509:
3507:
3506:
3494:
3482:
3469:
3466:
3465:
3463:
3462:
3450:
3438:
3426:
3413:
3411:
3395:
3387:
3386:
3384:
3383:
3371:
3359:
3346:
3344:
3336:
3335:
3333:
3332:
3325:
3318:
3310:
3308:
3301:
3297:
3296:
3294:
3293:
3288:
3282:
3279:
3278:
3275:Richard Wagner
3271:
3270:
3263:
3256:
3248:
3242:
3241:
3233:
3227:
3215:
3206:
3200:
3197:at rwagner.net
3191:
3179:
3178:
3165:
3154:
3153:External links
3151:
3149:
3148:
3141:
3134:
3127:
3120:
3109:
3099:
3094:978-1527299245
3093:
3080:
3065:
3054:
3043:
3036:
3021:
3010:
3003:
2996:
2989:
2978:
2971:
2960:
2941:Jürgen Maehder
2938:
2931:
2924:
2919:Stefan Kunze:
2917:
2907:
2900:
2893:
2882:
2875:
2866:Arthur Groos,
2864:
2851:
2837:
2823:
2812:
2802:
2795:
2777:
2755:
2742:Frank P. Bär:
2740:
2725:
2723:
2720:
2719:
2718:
2712:
2696:
2690:
2677:
2658:
2642:
2626:
2620:
2602:
2599:
2596:
2595:
2581:
2561:
2541:
2534:
2516:
2503:
2478:
2457:
2442:
2427:
2410:
2373:
2352:
2339:
2310:
2308:, p. 141.
2298:
2296:, p. 140.
2286:
2259:
2257:, p. 138.
2247:
2235:
2209:
2196:10.2307/746617
2165:
2153:
2132:
2123:
2114:
2102:
2090:
2078:
2052:
2041:
2015:
1992:
1976:
1963:
1962:
1960:
1957:
1955:
1954:
1945:
1934:
1932:
1929:
1927:
1924:
1916:Main article:
1913:
1910:
1811:Theodor Adorno
1802:
1799:
1789:Wieland Wagner
1713:
1712:
1709:
1706:
1703:
1700:
1697:
1694:
1691:
1688:
1682:
1679:
1673:
1670:
1656:
1653:
1650:
1639:
1636:
1633:
1630:
1619:
1616:
1613:
1610:
1564:
1494:
1491:
1464:
1458:Edison Records
1451:
1441:
1436:
1435:
1434:
1425:
1424:
1423:
1263:
1260:
1177:
1174:
1078:
1075:
1065:
1062:
1061:
1060:
1053:military drums
1027:
1026:
1008:
1003:
982:
964:
924:
918:
908:
903:
902:
901:
892:
891:
890:
888:
885:
882:
881:
875:
874:
871:
868:
864:Hans Schwarz,
861:
860:
857:
854:
847:
846:
843:
840:
833:
832:
829:
826:
819:
818:
815:
812:
808:
807:
804:
801:
794:
793:
790:
787:
780:
779:
778:Michael Pöppl
776:
773:
766:
765:
762:
759:
752:
751:
748:
745:
738:
737:
732:
729:
722:
721:
712:
711:
706:
701:
694:
693:
688:
683:
673:
672:
667:
662:
655:
654:
652:Franz Nachbaur
649:
644:
634:
633:
628:
623:
616:
615:
610:
605:
598:
597:
595:Hans von Bülow
589:
584:
572:
569:
552:Hans von Bülow
482:
479:
425:
366:Oper und Drama
353:
350:
328:. Just as the
240:
237:
152:Hans von Bülow
148:Richard Wagner
118:
117:
107:
97:
95:
91:
90:
87:
83:
82:
81:Richard Wagner
79:
75:
74:
69:
65:
64:
60:Max Staegemann
58:
50:
49:
47:Richard Wagner
39:
38:
26:
9:
6:
4:
3:
2:
4718:
4707:
4704:
4702:
4699:
4697:
4694:
4692:
4689:
4687:
4684:
4682:
4679:
4677:
4674:
4672:
4669:
4667:
4664:
4662:
4659:
4658:
4656:
4646:
4641:
4636:
4635:
4632:
4618:
4614:
4613:
4609:
4606:
4602:
4601:
4597:
4594:
4590:
4589:
4585:
4583:
4580:
4577:
4573:
4572:
4568:
4565:
4561:
4560:
4556:
4553:
4549:
4548:
4544:
4541:
4537:
4536:
4532:
4529:
4525:
4524:
4519:
4518:
4514:
4511:
4507:
4506:
4502:
4499:
4495:
4494:
4490:
4487:
4483:
4482:
4478:
4475:
4471:
4470:
4466:
4463:
4459:
4458:
4454:
4451:
4447:
4446:
4442:
4439:
4435:
4434:
4430:
4427:
4423:
4422:
4418:
4415:
4411:
4410:
4406:
4403:
4399:
4398:
4394:
4391:
4387:
4386:
4382:
4379:
4375:
4374:
4370:
4367:
4363:
4362:
4358:
4355:
4351:
4350:
4346:
4343:
4339:
4338:
4334:
4333:
4331:
4327:
4320:
4316:
4315:
4311:
4308:
4304:
4303:
4299:
4296:
4292:
4291:
4287:
4284:
4280:
4279:
4275:
4272:
4268:
4267:
4263:
4260:
4256:
4255:
4254:Khovanshchina
4251:
4248:
4244:
4243:
4239:
4236:
4232:
4231:
4227:
4226:
4224:
4220:
4216:
4209:
4204:
4202:
4197:
4195:
4190:
4189:
4186:
4174:
4166:
4164:
4160:
4156:
4154:
4146:
4145:
4142:
4136:
4133:
4131:
4128:
4126:
4123:
4121:
4118:
4116:
4115:Controversies
4113:
4111:
4110:Tristan chord
4108:
4106:
4105:
4101:
4099:
4096:
4094:
4093:
4089:
4087:
4084:
4082:
4081:
4077:
4075:
4072:
4070:
4067:
4065:
4062:
4060:
4057:
4055:
4054:
4050:
4048:
4047:
4043:
4042:
4040:
4036:
4030:
4027:
4025:
4022:
4020:
4017:
4015:
4012:
4010:
4007:
4006:
4004:
4000:
3990:
3988:
3984:
3982:
3980:
3976:
3975:
3973:
3969:
3963:
3961:
3957:
3954:
3953:
3949:
3946:
3945:
3941:
3938:
3937:
3933:
3932:
3930:
3926:
3920:
3917:
3915:
3912:
3910:
3907:
3905:
3902:
3900:
3897:
3895:
3892:
3890:
3887:
3885:
3882:
3880:
3879:Cosima Wagner
3877:
3875:
3872:
3870:
3867:
3865:
3862:
3860:
3857:
3856:
3854:
3852:
3851:Wagner family
3848:
3842:
3839:
3837:
3834:
3832:
3829:
3827:
3824:
3822:
3819:
3817:
3814:
3812:
3809:
3807:
3806:
3802:
3801:
3799:
3795:
3785:
3782:
3780:
3777:
3776:
3774:
3770:
3757:
3756:
3752:
3747:
3746:
3742:
3737:
3736:
3732:
3727:
3726:
3722:
3717:
3716:
3712:
3711:
3709:
3705:
3694:
3690:
3687:
3683:
3680:
3679:Bridal Chorus
3676:
3675:
3673:
3669:
3666:
3662:
3656:
3655:
3651:
3648:
3644:
3642:
3641:
3637:
3635:
3634:
3630:
3627:
3623:
3620:
3616:
3613:
3609:
3606:
3602:
3599:
3595:
3594:
3592:
3588:
3583:
3580:
3575:
3574:
3570:
3565:
3564:
3560:
3555:
3554:
3550:
3545:
3544:
3540:
3535:
3533:
3529:
3524:
3521:
3519:
3515:
3504:
3500:
3499:
3495:
3492:
3488:
3487:
3483:
3480:
3476:
3475:
3471:
3470:
3460:
3456:
3455:
3451:
3448:
3444:
3443:
3439:
3436:
3432:
3431:
3427:
3424:
3420:
3419:
3418:Das Rheingold
3415:
3414:
3412:
3409:
3405:
3404:
3399:
3396:
3392:
3381:
3377:
3376:
3372:
3369:
3365:
3364:
3360:
3357:
3353:
3352:
3348:
3347:
3345:
3341:
3331:
3330:
3326:
3324:
3323:
3319:
3317:
3316:
3312:
3311:
3309:
3305:
3302:
3298:
3292:
3289:
3287:
3284:
3283:
3280:
3276:
3269:
3264:
3262:
3257:
3255:
3250:
3249:
3246:
3237:
3234:
3231:
3230:Wagner Operas
3228:
3226:
3223:
3220:
3216:
3213:
3212:
3207:
3204:
3201:
3198:
3196:
3192:
3190:
3186:
3185:
3181:
3180:
3177:
3173:
3169:
3166:
3164:
3160:
3157:
3156:
3146:
3142:
3139:
3135:
3132:
3128:
3125:
3121:
3117:
3116:
3110:
3107:
3103:
3100:
3096:
3090:
3086:
3081:
3078:
3074:
3070:
3066:
3063:
3059:
3055:
3052:
3048:
3044:
3041:
3037:
3034:
3031:, Egon Voss,
3030:
3026:
3022:
3019:
3015:
3011:
3008:
3004:
3001:
2997:
2994:
2990:
2987:
2983:
2979:
2976:
2973:Melitz, Leo,
2972:
2969:
2965:
2961:
2958:
2954:
2950:
2946:
2942:
2939:
2936:
2932:
2929:
2925:
2922:
2918:
2915:
2911:
2908:
2905:
2901:
2898:
2895:Marc Klesse,
2894:
2891:
2887:
2883:
2880:
2876:
2873:
2869:
2865:
2862:
2861:
2856:
2852:
2849:
2845:
2841:
2838:
2835:
2831:
2827:
2824:
2821:
2817:
2813:
2810:
2806:
2805:Carl Dahlhaus
2803:
2800:
2796:
2793:
2792:0-300-10695-5
2789:
2785:
2781:
2778:
2775:
2771:
2767:
2763:
2759:
2756:
2753:
2749:
2745:
2741:
2738:
2734:
2730:
2727:
2726:
2715:
2713:0-521-44895-6
2709:
2705:
2701:
2700:Warrack, John
2697:
2693:
2691:0-306-80481-6
2687:
2683:
2678:
2675:
2674:0-14-029519-4
2671:
2667:
2661:
2659:0-8050-7189-X
2655:
2651:
2647:
2643:
2632:
2627:
2623:
2621:0-521-44895-6
2617:
2613:
2609:
2605:
2604:
2584:
2582:9781580461689
2578:
2574:
2573:
2565:
2558:
2554:
2550:
2545:
2537:
2531:
2527:
2520:
2513:
2510:Wagner, Nike.
2507:
2500:
2499:
2494:
2491:
2482:
2475:
2474:
2468:
2461:
2454:
2453:
2446:
2439:
2438:
2431:
2425:
2424:
2419:
2414:
2406:
2402:
2398:
2394:
2391:(1846): 5–8.
2390:
2386:
2385:
2377:
2370:
2369:0-02-871359-1
2366:
2362:
2356:
2349:
2346:Wagner, Nike.
2343:
2328:
2324:
2322:
2314:
2307:
2302:
2295:
2290:
2274:
2272:
2263:
2256:
2251:
2244:
2239:
2232:
2226:
2225:
2220:
2219:"Sachs, Hans"
2213:
2205:
2201:
2197:
2193:
2189:
2185:
2184:
2179:
2175:
2174:Groos, Arthur
2169:
2162:
2157:
2150:
2149:0-00-216669-0
2146:
2142:
2136:
2127:
2118:
2112:, chapter 14.
2111:
2106:
2099:
2094:
2087:
2082:
2067:
2063:
2056:
2050:
2045:
2030:
2026:
2019:
2011:
2010:
2005:
1999:
1997:
1989:
1983:
1981:
1973:
1968:
1964:
1949:
1939:
1935:
1922:
1920:
1909:
1907:
1903:
1898:
1894:
1892:
1891:
1890:Twelfth Night
1886:
1881:
1875:
1870:
1866:
1861:
1859:
1855:
1851:
1846:
1844:
1840:
1839:Charles Rosen
1835:
1829:
1824:
1820:
1816:
1812:
1808:
1798:
1795:
1790:
1785:
1779:
1773:
1770:
1765:
1761:
1757:
1756:
1751:
1747:
1742:
1737:
1735:
1731:
1726:
1722:
1718:
1710:
1707:
1704:
1701:
1698:
1695:
1692:
1689:
1687:
1683:
1680:
1678:
1674:
1671:
1666:
1661:
1657:
1654:
1651:
1648:
1644:
1640:
1637:
1634:
1631:
1628:
1624:
1620:
1617:
1614:
1611:
1608:
1607:
1606:
1604:
1599:
1596:
1591:
1584:
1579:
1573:
1571:
1563:
1561:
1557:
1553:
1548:
1543:
1539:
1535:
1531:
1527:
1523:
1519:
1514:
1510:
1505:
1500:
1490:
1486:
1484:
1479:
1472:
1470:
1459:
1455:
1439:
1422:
1420:
1416:
1411:
1410:
1406:
1402:
1398:
1394:
1390:
1386:
1382:
1380:
1373:
1371:
1367:
1366:Pegnitz River
1363:
1358:
1357:
1353:
1351:
1347:
1343:
1339:
1335:
1331:
1330:
1325:
1319:
1318:
1314:
1310:
1309:
1305:
1301:
1300:
1296:
1294:
1290:
1284:
1283:
1277:
1272:
1268:
1259:
1255:
1254:
1250:
1246:
1245:
1241:
1239:
1233:
1232:
1228:
1226:
1221:
1220:
1216:
1212:
1211:
1207:
1205:
1204:Midsummer Day
1200:
1199:
1195:
1194:
1192:
1186:
1184:
1173:
1171:
1167:
1163:
1159:
1154:
1148:
1147:
1143:
1139:
1138:
1134:
1132:
1128:
1124:
1120:
1116:
1112:
1108:
1104:
1099:
1098:
1096:
1092:
1088:
1082:
1074:
1073:
1071:
1058:
1054:
1050:
1046:
1042:
1038:
1034:
1033:
1032:
1031:
1025:
1024:double basses
1021:
1017:
1013:
1009:
1007:
1004:
1002:
998:
994:
990:
986:
983:
981:
977:
973:
969:
965:
963:
959:
955:
951:
947:
944:
943:
942:
939:
932:
930:
906:
880:
876:
872:
869:
867:
863:
862:
858:
855:
853:
849:
848:
844:
841:
839:
835:
834:
830:
827:
825:
821:
820:
816:
813:
810:
809:
806:Karl Fischer
805:
802:
800:
796:
795:
792:Eduard Hoppe
791:
788:
786:
782:
781:
777:
774:
772:
768:
767:
763:
760:
758:
754:
753:
749:
746:
744:
740:
739:
736:
733:
730:
728:
724:
723:
720:
713:
710:
707:
705:
702:
700:
697:Veit Pogner,
696:
695:
692:
689:
687:
686:bass-baritone
684:
682:
678:
675:
674:
671:
670:Gustav Hölzel
668:
666:
663:
661:
657:
656:
653:
650:
648:
645:
643:
642:
636:
635:
632:
631:Max Schlosser
629:
627:
624:
622:
618:
617:
614:
611:
609:
606:
604:
600:
599:
596:
590:
588:
585:
582:
581:
568:
565:
562:, played the
561:
557:
556:Franz Strauss
553:
549:
545:
540:
538:
537:Cosima Wagner
534:
530:
529:
524:
523:
518:
517:
512:
508:
504:
500:
496:
492:
488:
478:
475:
470:
469:
464:
458:
456:
455:
447:
443:
438:
437:
430:
423:
417:
414:
408:
401:
395:
390:
386:
381:
375:
372:
367:
363:
359:
349:
346:
345:Meistersinger
340:
335:
331:
327:
326:
320:
319:Meistersinger
315:
309:
304:
301:
293:
289:
288:Martin Luther
283:
278:
276:
272:
268:
264:
259:
254:
249:
248:
236:
234:
229:
227:
224:, and even a
223:
219:
215:
211:
210:
205:
201:
199:
194:
190:
189:
188:Meistersinger
184:
180:
176:
172:
167:
165:
161:
157:
153:
149:
145:
141:
136:
128:
126:
114:
110:
96:
92:
88:
84:
80:
76:
73:
70:
66:
61:
56:
51:
48:
44:
40:
37:
33:
30:
19:
4696:Music dramas
4610:
4598:
4586:
4581:
4569:
4557:
4545:
4533:
4521:
4515:
4504:
4503:
4491:
4479:
4467:
4462:Soho Theatre
4455:
4443:
4431:
4419:
4407:
4395:
4383:
4371:
4359:
4347:
4335:
4329:2001–present
4312:
4300:
4288:
4276:
4264:
4252:
4240:
4228:
4125:Museo Wagner
4102:
4098:Rhinemaidens
4090:
4078:
4051:
4044:
3986:
3978:
3959:
3950:
3943:
3936:Wagner Dream
3934:
3889:Minna Wagner
3874:Ludwig Geyer
3803:
3779:Holztrompete
3753:
3743:
3733:
3725:Die Hochzeit
3723:
3713:
3652:
3638:
3631:
3582:Kaisermarsch
3571:
3561:
3551:
3541:
3531:
3496:
3485:
3484:
3472:
3452:
3440:
3428:
3416:
3401:
3394:Music dramas
3373:
3361:
3349:
3327:
3320:
3313:
3218:
3210:
3194:
3183:
3158:
3144:
3137:
3130:
3123:
3114:
3105:
3084:
3068:
3061:
3057:
3050:
3046:
3039:
3024:
3017:
3013:
3006:
2999:
2992:
2985:
2981:
2974:
2967:
2963:
2948:
2944:
2934:
2927:
2920:
2913:
2910:Stefan Kunze
2903:
2896:
2889:
2885:
2878:
2871:
2867:
2858:
2854:
2847:
2843:
2819:
2815:
2808:
2798:
2783:
2765:
2761:
2743:
2736:
2732:
2703:
2681:
2665:
2649:
2646:Magee, Bryan
2634:. Retrieved
2611:
2586:. Retrieved
2571:
2564:
2544:
2525:
2519:
2511:
2506:
2496:
2481:
2471:
2460:
2450:
2445:
2435:
2430:
2421:
2413:
2388:
2382:
2376:
2360:
2355:
2347:
2342:
2330:. Retrieved
2326:
2320:
2313:
2306:Carnegy 1994
2301:
2294:Carnegy 1994
2289:
2277:. Retrieved
2275:. OperaGlass
2270:
2262:
2255:Warrack 1994
2250:
2243:Carnegy 1994
2238:
2229:; (
2222:
2212:
2187:
2181:
2177:
2168:
2156:
2140:
2135:
2126:
2117:
2105:
2100:, chapter 4.
2098:Warrack 1994
2093:
2081:
2069:. Retrieved
2065:
2055:
2044:
2032:. Retrieved
2028:
2018:
2008:
1972:Warrack 1994
1967:
1948:
1938:
1918:
1899:
1895:
1888:
1869:Udo Bermbach
1862:
1847:
1823:antisemitism
1804:
1774:
1764:World War II
1753:
1750:Adolf Hitler
1738:
1714:
1669:(in Italian)
1627:Hans Richter
1602:
1601:
1578:Hans Sachs's
1577:
1575:
1566:
1515:
1496:
1487:
1482:
1477:
1475:
1466:
1456:in 1910 for
1418:
1414:
1412:
1408:
1404:
1400:
1396:
1392:
1388:
1384:
1381:, lobet ihn!
1376:
1374:
1368:. It is the
1361:
1359:
1355:
1354:
1349:
1345:
1341:
1327:
1320:
1316:
1315:
1311:
1307:
1306:
1302:
1298:
1297:
1292:
1285:
1281:
1280:
1265:
1256:
1252:
1251:
1247:
1243:
1242:
1234:
1230:
1229:
1224:
1222:
1218:
1217:
1213:
1209:
1208:
1201:
1197:
1196:
1188:
1180:
1179:
1165:
1161:
1149:
1145:
1144:
1140:
1136:
1135:
1123:young knight
1102:
1100:
1084:
1083:
1080:
1068:
1067:
1029:
1028:
1020:violoncellos
1010:1st and 2nd
1001:glockenspiel
935:
926:
878:
865:
859:Ludwig Hayn
851:
850:Hans Foltz,
845:Franz Thoms
837:
831:Eduard Sigl
823:
798:
784:
770:
756:
742:
735:Sophie Dietz
726:
718:
698:
680:
659:
638:
620:
602:
541:
526:
520:
515:
484:
466:
460:
452:
449:
434:
432:
426:
419:
384:
376:
365:
358:Schopenhauer
355:
323:
313:
311:
306:
302:
285:
280:
274:
252:
242:
230:
207:
203:
202:
186:
168:
122:
121:
71:
35:
29:
4676:1868 operas
4290:Paul Bunyan
4173:WikiProject
4029:3992 Wagner
3989:(1982 film)
3981:(1904 film)
3962:(1986 film)
3955:(2012 film)
3947:(1983 film)
3894:Nike Wagner
3784:Wagner tuba
3664:Other opera
3430:Die Walküre
3307:Early works
3239:(in German)
2664:(UK title:
2636:13 December
2088:, p. .
2004:Sachs, Hans
1990:, p. )
1988:Wagner 1992
1974:, p. .
1921:discography
1872: [
1858:Nike Wagner
1732:, and sang
1721:World War I
1663: [
1647:Anton Seidl
1556:nationalism
727:Eva's nurse
725:Magdalena,
593:Conductor:
564:French horn
292:Reformation
179:Renaissance
144:music drama
68:Translation
43:Music drama
4655:Categories
4571:Billy Budd
4547:Semiramide
4266:Billy Budd
4074:Musikdrama
3772:Inventions
3755:Die Sieger
3640:Mein Leben
3363:Tannhäuser
2110:Magee 2002
2086:Magee 2002
1926:References
1912:Recordings
1660:Juan Goula
1469:media help
1454:Leo Slezak
1403:, and its
1338:journeyman
1324:King Marke
1170:chalkboard
1162:Fanget an!
1105:(When the
929:media help
691:Franz Betz
677:Hans Sachs
587:Voice type
516:Tannhäuser
362:aesthetics
339:Tannhäuser
334:satyr play
325:Tannhäuser
247:Mein Leben
198:Hans Sachs
102:1868-06-21
78:Librettist
18:Beckmesser
4612:Innocence
4523:Pagliacci
4433:Partenope
4230:Stiffelio
4222:1993–2000
4135:Wahnfried
4064:Leitmotif
3960:Wahnfried
3693:Liebestod
3442:Siegfried
3375:Lohengrin
3102:Egon Voss
1959:Footnotes
1863:Scholars
1552:patriotic
1526:Karlsruhe
1506:wrote in
1493:Reception
1127:Franconia
1095:Midsummer
1070:Nuremberg
1045:stierhorn
989:bass drum
976:trombones
958:clarinets
803:baritone
641:Franconia
507:Tribschen
377:Although
330:Athenians
267:Marienbad
171:Nuremberg
142:96, is a
4535:Akhnaten
4153:Category
3987:Parsifal
3979:Parsifal
3590:Writings
3534:Overture
3498:Parsifal
3315:Die Feen
3168:Libretto
2702:(1994).
2648:(2002).
2557:John Dew
2498:Die Zeit
2161:Lee 2014
2151:page 376
1885:Malvolio
1530:Mannheim
1452:Sung by
1334:baptized
1289:name day
1238:serenade
1115:pastiche
1109:came to
1081:Prelude
1064:Synopsis
1037:trumpets
1030:on-stage
997:triangle
972:trumpets
962:bassoons
905:Overture
731:soprano
665:baritone
535:, died.
495:overture
491:libretto
487:scenario
218:choruses
94:Premiere
86:Language
4361:Wozzeck
4038:Related
3939:(opera)
3633:Leubald
3532:Polonia
2912:(ed.):
2857:", in:
2682:My Life
2601:Sources
2405:1004263
2371:p. 304.
2130:source?
1730:oration
1538:Hanover
1518:Dresden
1379:Krispin
1356:Scene 5
1317:Scene 4
1308:Scene 3
1299:Scene 2
1253:Scene 6
1244:Scene 5
1231:Scene 4
1219:Scene 3
1210:Scene 2
1198:Scene 1
1191:syringa
1189:-tree (
1187:Flieder
1158:worldly
1146:Scene 3
1137:Scene 2
1107:Saviour
1059:(Act I)
1012:violins
993:cymbals
985:timpani
946:piccolo
619:David,
608:soprano
511:Lucerne
503:Penzing
499:Leipzig
253:My Life
222:quintet
131:German:
100: (
4681:Operas
4631:Portal
4619:(2024)
4607:(2023)
4600:Alcina
4595:(2022)
4588:Jenůfa
4578:(2020)
4566:(2019)
4554:(2018)
4542:(2017)
4530:(2016)
4512:(2015)
4500:(2014)
4488:(2013)
4476:(2012)
4464:(2011)
4457:Bohème
4452:(2010)
4440:(2009)
4428:(2008)
4416:(2007)
4409:Jenufa
4404:(2006)
4392:(2005)
4380:(2004)
4368:(2003)
4356:(2002)
4344:(2001)
4321:(2000)
4309:(1999)
4297:(1998)
4285:(1997)
4273:(1996)
4261:(1995)
4249:(1994)
4237:(1993)
3944:Wagner
3739:(1838)
3729:(1832)
3719:(1830)
3577:(1870)
3567:(1858)
3547:(1843)
3537:(1836)
3526:(1832)
3329:Rienzi
3172:Schott
3091:
3075:
3060:, in:
3049:, in:
3016:, in:
2955:
2870:, in:
2832:
2818:, in:
2790:
2772:
2750:
2710:
2688:
2672:
2656:
2618:
2588:19 May
2579:
2532:
2403:
2367:
2332:19 May
2279:20 May
2204:746617
2202:
2147:
2071:19 May
2034:19 May
1645:under
1625:under
1590:welsch
1534:Weimar
1522:Dessau
1377:Sankt
1022:, and
1016:violas
950:flutes
789:tenor
775:tenor
761:tenor
747:tenor
226:ballet
160:Munich
113:Munich
89:German
4645:Opera
4163:Audio
2401:JSTOR
2200:JSTOR
1931:Notes
1876:]
1819:Aryan
1667:]
1407:, or
1399:, or
1262:Act 3
1183:tilia
1176:Act 2
1125:from
1117:of a
1077:Act 1
1057:organ
1041:horns
1035:more
968:horns
954:oboes
870:bass
856:bass
842:bass
828:bass
814:bass
647:tenor
626:tenor
601:Eva,
583:Role
571:Roles
533:Minna
509:near
385:Wille
342:with
214:arias
183:guild
3224:and
3221:see
3089:ISBN
3073:ISBN
2953:ISBN
2830:ISBN
2788:ISBN
2770:ISBN
2748:ISBN
2708:ISBN
2686:ISBN
2670:ISBN
2654:ISBN
2638:2014
2616:ISBN
2590:2018
2577:ISBN
2530:ISBN
2365:ISBN
2334:2018
2281:2019
2145:ISBN
2073:2018
2036:2018
1878:and
1746:Nazi
1111:thee
1049:lute
1039:and
1006:harp
980:tuba
974:, 3
970:, 3
960:, 2
956:, 2
952:, 2
948:, 2
704:bass
463:Will
413:Wahn
400:Wahn
394:Wahn
389:Will
220:, a
4526:–
2943:,
2782:,
2470:".
2393:doi
2389:137
2192:doi
2180:".
1093:or
265:at
185:of
158:in
140:WWV
111:in
45:by
4657::
4615:–
4603:–
4591:–
4574:–
4562:–
4550:–
4538:–
4520:/
4508:–
4496:–
4484:–
4472:–
4460:–
4448:–
4436:–
4424:–
4412:–
4400:–
4388:–
4376:–
4364:–
4352:–
4340:–
4317:–
4305:–
4293:–
4281:–
4269:–
4257:–
4245:–
4233:–
3161:.
3104:,
3035:).
2842:,
2807::
2760:,
2731:,
2495:,
2420:,
2399:.
2387:.
2325:.
2221:,
2198:.
2188:16
2186:.
2064:.
2027:.
1995:^
1979:^
1908:.
1893:.
1874:de
1867:,
1766:,
1665:es
1562:.
1536:,
1532:,
1528:,
1524:,
1520:,
1372:.
1055:,
1051:,
1047:,
1043:,
1018:,
1014:,
999:,
995:,
991:,
987:,
978:,
966:4
679:,
554:.
471::
374:.
273:'
261:.
235:.
228:.
216:,
166:.
4633::
4207:e
4200:t
4193:v
3695:"
3691:"
3688:"
3684:"
3681:"
3677:"
3649:"
3645:"
3628:"
3624:"
3621:"
3617:"
3614:"
3610:"
3607:"
3603:"
3600:"
3596:"
3267:e
3260:t
3253:v
3170:(
3097:.
3079:.
2959:.
2836:.
2794:.
2776:.
2754:.
2716:.
2694:.
2676:)
2662:.
2640:.
2624:.
2538:.
2493:"
2487:"
2407:.
2395::
2336:.
2283:.
2269:"
2233:)
2206:.
2194::
2163:.
2075:.
2038:.
1986:(
1649:.
1629:.
1471:.
1344:(
931:.
716:—
457:)
387:(
251:(
129:(
104:)
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
