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Richard Wagner continues to be the most controversial artist in history, a perpetually troubling figure in our cultural consciousness. The unceasing debate over his works and their impact--for and against--is one reason why there has been no genuinely comprehensive modern account of his musical dramas until now. Dieter Borchmeyer's book is the first to present an overall picture of these musical dramas from the standpoint of literary and theatrical history. It extends from the composer's early works--still largely ignored--to the Ring Cycle and Parsifal, and includes Wagner's unfinished works and operas he never set to music. Through lively prose, we come to see Wagner as a librettist--and as a man of letters--rather than primarily as musical composer. Borchmeyer uncovers a vast field of cultural and historical cross-references in Wagner's works. In the first part of the book, he sets out in search of the various archetypal scenes, opening up the composer's dramatic workshop to the reader. He covers all of Wagner's operas, from early juvenilia to the canonical later works. The second part examines Wagner in relation to political figures including King Ludwig II and Bismarck, and, importantly, in light of critical reactions by literary giants--Thomas Mann, whom Borchmeyer calls "a guiding light in this exploration of the fields that Wagner tilled," and Nietzsche, whose appeal to "philology" is a key source of inspiration in attempts to grapple with Wagner's works. For more than twenty years, Borchmeyer has placed his scholarship at the service of the famed Bayreuth Festival. With this volume, he gives us a summation of decades of engagement with the phenomenon of Wagner and, at the same time, the result of an abiding critical passion for his works.
Newman's Life of Wagner, published between 1933 and 1947, the culmination of forty years' research, is a classic biography.
In the vast literature on Richard Wagner, Ernest Newman's classic four-volume Life remains unsurpassed. Volume III covers the years 1859-66 including the Tannhäuser debacle in Paris, the crisis with Minna, the first production of Tristan und Isolde and the flight from Munich.
Ludwig II of Bavaria (1864—1886) is more internationally known for his royal palaces than hardly any other regent of the 19th century. They are the symbol of a personal architectural vision which, to this day, fascinates people from all over the world. However, the fame of his palaces has eclipsed other construction activities in the Kingdom of Bavaria: urban developments, hospitals, and schools, theatres and museums, but also factories, railway stations, apartment blocks, churches, and synagogues were created under his regency. This book, for the first time, sheds light on the broad architectural activities in this epoch. Essays and overview illustrations of the building projects of the time provide insights into the diversity of the then building culture and, at the same time, open up a new perspective on the royal palaces.
From Caligula to Stalin and beyond, this book offers a unique and pioneering look at the recurring phenomenon of the 'mad king' from the early centuries of the Christian era to modern times.