Die komplette Wagner

© Copyright Peter Crawford 2013
'Die komplette Wagner'
(Complete Wagner)


This is Wagner, with Fafnir as a baby.
If you don't know who Fafnir is, then read on.
(clue - he appears in 'Siegfried')
This blog may well provide everything you need to know about Richard Wagner and his music.
The blog also includes information about Wagner's loves and obsessions, his wife, Cosima, his 'gay' son, Siegfried, his son-in law, Houstn Stewart Chamberlain - supporter of Hitler, and friend of the Kaiser Wilhelm I.
There are also separate articles dealing with Wagner's relationship with Ludwig II - the gay, 'crazy' King of Bavaria and, of course, his daughter-in law's relationship with 'Wolf', (Adolf Hitler)
And in this blog there are no aging, fat 'heldentenors' or baritones - and in this blog 'the fat lady' never sings.
Zac takes most of the male parts, and also comes up with some very slim, shapely young ladies for the female roles, like  Brünnhilde.
This is 'sexy Wagner', presented in Zac's inimitable style.
And if you aren't interested in 'the Concept of Musikdrama' (see below), then go to the 'contents', and 'check out' Zac in some of the operas.

This blog has been produced with the help and co-operation of Peter Crawford


The Concept of Musikdrama

Theodor Mundt
Musikdrama is a German word that means a unity of prose and music.
Initially coined by Theodor Mundt in 1833, it was most notably used by Richard Wagner, along with gesamtkunstwerk, to define his operas.
Theodor Mundt (1808–1861), who coined musikdrama was a German critic and novelist.
He was a member of the 'Young Germany' group of German writers.
Mundt formulated his definition explicitly in contrast to intermezzo, or a piece that sits in between dramatic entities.
To this day, 'musikdrama' is associated with the works of Richard Wagner where poetry, music and stage performances are not arbitrarily combined.
Wagner himself composed the music and libretto, and was a consultant on the stage design and choreography.This all-encompassing art, or 'gesamtkunstwerk', called on the diegesis of musikdrama in order to further the immersive feel.

Diegesis is a style of fiction storytelling which presents an interior view of a world and is:
that world itself experienced by the characters in situations and events of the narrative
telling, recounting, as opposed to showing, enacting.
In diegesis the narrator tells the story. The narrator presents the actions (and sometimes thoughts) of the characters to the readers or audience.
Diegesis may concern elements, such as characters, events and things within the main or primary narrative. However, the author may include elements which are not intended for the primary narrative, such as stories within stories; characters and events that may be referred to elsewhere or in historical contexts and that are therefore outside the main story and are thus presented in an extradiegetic situation.

Wagner himself resisted calling his works 'musikdrama'. which would imply a drama "meant for music," like a libretto.
 Nietzsche
Instead he, under the influence of Nietzsche, wanted to put music at the service of the drama, which indeed in its original ancient form was inseparable from music.
Nevertheless, the term music-drama has become accepted.
A major characteristic of 'musikdrama' is its formal unity, without interruptions or smaller closed forms such as arias or duets.
Recurring 'leitmotifs' provide support and interpretation of the text, which progresses as in a spoken drama.

For many people the 'Ring' dominates - but there is much more to Wagner than his 'Ring Cycle'.
While his early works may be of mainly academic interest, 'Tristan und Isolde' and 'Die Meistersinger von Nürnberg' form a glittering frame to the great, four part 'Ring Cycle', with the incomparable 'Parsifal' forming a crowning glory, and pinnacle, to Wagner's magnificent and unique achievement.


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