German Romantic Opera: Wagner

Important Terms / Concepts

Music Drama
Gesamtkunstwerk (unified work of art)
Leitmotif
Endless melody
Role of Folklore in opera
Chromatic harmony

Richard Wagner (1813-1883)

Above: photo of Wagner

Wagner became one of the

historic reformers of opera, on
a par with Glck and Bertold
Brecht
He wrote his own libretti, based
mostly on myths and folklore
of German and Arthurian
origin
Initially unsuccessful in Paris,
he moved back to Germany
and found his first success in
1842

Richard Wagner (1813-1883)

Born in Leipzig; his father died early, and his stepfather
encouraged Richards artistic interests
Age 20 (1833): writing librettos and operas, working for
various regional opera companies
In Paris 1836-42; no success
Returns to Germany; success:
Rienzi (grand opera), Der fliegende Hollnder
1848: flees Dresden after his role in the socialist revolution
there (see picture above); moves to Switzerland through 1860
Published his theories on opera, drama and culture in a series
of famous essays, esp. The Artwork of the Future, Opera and
Drama

Richard Wagner (1813-1883)

He wrote the 1st music drama of
Der Ring des Nibelungen c. 1848; the
other 3 operas had to wait until he
earned more money.
c 1860: Wagner finds a true patron
in the slightly insane King Ludwig
II of Bavaria; he completes the
Ring music dramas by 1876.
Wagner had repeated affairs, incl.
with a patrons wife and with his
conductors wife (Franz Liszts
daughter!) as he conducted Tristan
und Isolde; he later married her.

Above: photo of Wagner

Wagners Opera Reforms

Rather than the Italianate emphasis on melody
above all in Opera, Wagner sought for all the
arts to be unified in service to the Drama (N.B.
drama = more than just a play)
Gesamtkunstwerk (unified work of art): the
German term coined by Wagner for the manner
in which all the arts (instrumental music, singing,
gesture / dance, acting, literature, painting
(backdrops) and other plastic arts (costumes, set
design) come together to support the drama

Wagners Opera Reforms

Rather than separating recitative from aria,
Wagner championed an arioso-like style of
singing which would allow for musical
continuity throughout an entire dramatic
section. Endless melody would avoid periodic
phrases and use chromatic harmony to propel
the music until the end of a scene or act.
Leitmotifs (recurring motives associated with
persons, things, emotions or ideas of the drama)
would help to provide musical unity and clarity
Can be altered upon subsequent appearances

The Influence of Schopenhauer

Wagner absorbed the philosophical views of Arthur
Schopenhauer, especially from his The World as Will
and Representation (1854)
Music is the one art which can embody the deepest aspects
of human experience
Words and ideas resulted from Reason, which governs
Appearance
Emotions reside in the Will, which is the ultimate reality
Opera text = Appearance, orchestral parts = Will; His
music dramas were Symphonies with words, building
upon Beethovens 9th

Wagners Major Operas

Rienzi (1842)
Der fliegende Hollnder (1843)
Tannhuser (1845)
Lohengrin (1850)
Tristan und Isolde (1865)
Die Meistersinger von Nrnberg (1868)
Der Ring des Nibelungen

Rhinegold (1869)
Die Walkre (1870)
Siegfried (1876)
Gtterdmmerung (1876)

Parsifal (1882)

Katarina Dalayman & Peter Seiffert

as Tristan and Isolde,
Metropolitan Opera 2008

Bayreuth Festspielhaus
In 1882 Wagner had a theater constructed in the
Bavarian countryside according to the demands
of his operatic/dramatic theories; all his music
dramas are performed there annually.

Tristan und Isolde (1865)

(NAWM, p. 710-752; CD 10:31)
Wagner wrote the libretto based on a 13th Century
romance by Gottfried von Strassburg
Tale of an illicit love affair which represents the
conflict between Will and Appearance
The Plot: King Mark sends his trusted Tristan to bring
his bride, Isolde, from Ireland to Cornwall. Isolde falls
for Tristan but he offends her. She attempts to poison
them both but her maid-in-waiting swaps the poison
with a love potion. Much sexy music ensues. The ship
arrives but the two are oblivious.

Tristan Plot, Contd

(NAWM, p. 710-752; CD 10:31)
Act II: the two continue their trysts after her
marriage to the King, but are discovered. Tristan
is wounded by another knight.
Act III: Tristan is dying at his castle in Brittany.
Beckoned by Tristan, Isolde comes just in time
to see him die. Mark has followed and offers to
forgive them both, but she has no will to live
without Tristan and soon dies.
Youtube: Tristan und Isolde, Act I scene 5, La
Scala 2007 or DVD-234 & 235

Leitmotifs of Act I, Sc. 5

Tristans Honor

Passion, Traitor

Leitmotifs of Act I, Sc. 5

Passionate Love:

Hail, King Mark! Hail!