A Quick Note from the Digital Desk!

A quick note from the digital depths of the-wagnerian.com!

You may have noticed a slight tremor in the force, or perhaps a delayed reply to your insightful emails. Fear not, our dedication to all things Wagner remains as steadfast as Siegfried's resolve! We've recently undertaken the epic task of migrating our email provider – a venture not unlike transporting the Ring cycle itself, with many moving parts and the occasional mythical beast to contend with.

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Witnessing a Masterpiece in the Making: Solti's Ring Cycle, Full Video

This classic documentary captures the intense and meticulous process behind recording Wagner’s Götterdämmerung for Decca Records in 1964. It features conductor Sir Georg Solti, producer John Culshaw, and the Vienna Philharmonic, alongside legendary singers like Birgit Nilsson, Wolfgang Windgassen, and Dietrich Fischer-Dieskau. The film showcases the technical challenges of analog tape editing, the emotional and physical demands on performers, and the sheer ambition of producing what would become one of the most celebrated recordings of Wagner’s Ring Cycle.

📽️ Key Highlights

• Solti’s dynamic energy and obsessive attention to detail during rehearsals and recordings.

• Culshaw’s pioneering production techniques, including halting Vienna traffic to avoid background noise.

• Behind-the-scenes footage of singers navigating complex vocal passages under pressure.

• Humorous and human moments, like Nilsson’s interaction with a horse during a Brünnhilde scene.

• Glimpses of 1960s editing methods—cutting tape by hand, long before digital tools.

📚 Background Context

• Solti’s recording, produced between 1958 and 1965, was the first complete studio version of the cycle and remains a benchmark in classical music.

• John Culshaw revolutionized opera recording by treating it as a dramatic experience, not just a musical one—adding spatial effects and narrative cohesion.

• The documentary, released in 1965 was directed by Humphrey Burton , known for his insightful music films, and offers a rare glimpse into the artistry and logistics of high-stakes classical recording.

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Wagner's Women: A Philosophical Tapestry Revealed in New Scholarship

 

For enthusiasts and newcomers alike, Richard Wagner's operas are a world unto themselves, often stirring intense debate, not least concerning his powerful female characters. A recent scholarly work by Aoife Shanley, "The Evolving Philosophical Stance of Richard Wagner and the Effects on His Female Characters from Senta to Kundry," offers a focused look at the profound philosophical influences that shaped these iconic figures. Shanley's annotated bibliography meticulously analyzes how the ideas of Hegel, Schopenhauer, and Nietzsche manifested in Wagner's works, revealing which philosopher held sway at different times.

Shanley highlights that Wagner often "marries the philosophies of Hegel and Schopenhauer" despite their opposing views, driven ultimately by a quest for purity and asceticism in his operas and their depiction of women.

The 'WomanGround' and Challenging Conventions

A fascinating concept emerging from the scholarship Shanley reviews is Wagner's "WomanGround," a term explored by Kathryn Barnes-Burroughs. This refers to all things "feminine, fertile, and creative," and Barnes-Burroughs argues that Wagner wrote everything from this perspective, influenced by the women in his life. This idea suggests that Wagner's compositional approach, with harmony functioning as a "womb" for melody, was intrinsically feminine. Barnes-Burroughs contends that Wagner was "not as misogynistic as his primary influences," even aligning with emerging feminists like Margaret Fuller. His heroines, such as Elsa, Elisabeth, and Kundry, exhibit traits "not typical of the bourgeois nineteenth century woman," acting outside the home and being transformed by love—actions that directly contrast Hegel's ideal of the domesticated woman.

Philosophical Currents and Wagner's Response

Shanley's bibliography points to the complex interplay between Wagner and the philosophical giants of his era:

• Hegel's Domestic Ideal vs. Wagner's Heroines: Research on Hegel reveals his "overwhelmingly biased opinions on women," arguing they belonged solely in the home to birth and raise children, without solid evidence for this assertion. One scholar notes that if Hegel had truly followed his own philosophical conclusions, he would have been a "radical feminist". Despite Hegel's views heavily influencing 19th-century bourgeois culture, Wagner's operas, particularly Parsifal's Kundry, Lohengrin's Elsa, and Tannhäuser's Elisabeth, are often "highly reactionary to this thinking".

• 
  Schopenhauer's 'Other' and the Will: Tom Grimwood's work explores Schopenhauer's complex misogyny, where women are considered "other" and thus "impossible to be equal to man". This view of women as passive forces is remarkably similar to Hegel's. However, Wagner does not "appear to share this idea fully," as seen when Elisabeth intercedes in Tannhäuser, an action far from passive. Schopenhauer's disdain extended to women's "one 'action': seduction," viewing it as destructive to men. John E. Atwell highlights Schopenhauer's evolving views, noting he believed women contributed to children's intellect, while men to their moral development tied to "Will".

• Wagner's Embrace of Schopenhauer's Aesthetics and Asceticism: An essay by Elizabeth Wendell Barry, as summarized by Shanley, underscores Wagner's deep connection to Schopenhauer's philosophy, particularly the idea that "Intellect is the slave of the Will" and that music is the "most supreme form of art" capable of directly expressing the Will. This directly fed Wagner's pursuit of the Gesamtkunstwerk. Both shared a fascination with Buddhism, leading to a mutual desire for asceticism and the idea that "negation of will was the most supreme action". Wagner uses this in Tristan und Isolde, where the lovers' redemption comes through the "sacrifice of passion and physical love". Pity, gleaned from Buddhism by Schopenhauer, is physically embodied in Kundry in Parsifal.

• Nietzsche's Societal Order: Tom Grimwood's work also extends to Nietzsche, who supported traditional gender roles not due to inherent gender differences, but because disrupting the family structure would "affect society as a whole". Nietzsche, while perhaps less overtly misogynistic, still posited women as "vain and shallow creatures" and the "opposing figure to the Free Spirit (man)".

The Purity Motif and Wagner's Artistic Vision

Arnold Labrie's analysis, as presented by Shanley, interprets Wagner through a lens of searching for purity, which often links to nationalism and antisemitism in his context. This concept manifests in Wagner's music through the "idolization of chastity". Kundry is "derided because she is not chaste", while Brünnhilde's punishment in Siegfried requires her to remain chaste. Elisabeth's chaste love in Tannhäuser is presented as the "ultimate form of love," as she intercedes for Tannhäuser despite never having been with him in an "impure" way.

Ultimately, Richard Wagner himself, in Opera & Drama, asserted that music is a "WomanGround," inherently feminine. He saw true opera as "a woman who loves and takes pride in her sacrifice," an idea present in all his heroines. This deep dive into the philosophical underpinnings of Wagner's operatic women provides a rich understanding of their creation, solidifying their place as complex and enduring figures on the world stage.

To Read The Full Paper, Click Here

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The Shadow of Bayreuth: Wagner's Enduring Influence on Thomas Mann

For those perhaps less familiar with the literary giant, Thomas Mann (1875–1955) was a German novelist, short story writer, and essayist, widely considered one of the most important German writers of the 20th century. Born into a wealthy merchant family in Lübeck, Mann's early life saw him delve in to literature after his father's death and the liquidation of the family business. He settled in Munich, a vibrant centre of German culture, where he began his writing career. His first major novel, Buddenbrooks, published when he was just twenty-five, brought him early success. Mann was awarded the Nobel Prize in Literature in 1929, primarily for Buddenbrooks. An outspoken opponent of Nazism, he fled Germany in 1933, living first in Switzerland and then in the United States, where he became a citizen and actively campaigned against the Nazi regime. His notable works include The Magic Mountain, Death in Venice, Joseph and His Brothers, and Doctor Faustus. Mann returned to Switzerland in 1952, where he died in 1955.

The Shadow of Bayreuth: Wagner's Enduring Influence on Thomas Mann

By Charles Gramlin

For a figure as towering as Thomas Mann, it might seem reductive to pinpoint a singular wellspring of his creative genius. Yet, as a recent article by Gvantsa Ghvinjilia, published in Dramaturgias, incisively illustrates, the spectral, charismatic influence of Richard Wagner permeates Mann's oeuvre, shaping not merely individual characteristics but the very architecture of his artistic thought. Indeed, the paper posits Mann as arguably "the writer most obsessed with music," and particularly with the Master of Bayreuth.

Ghvinjilia's research meticulously unpacks the multifaceted ways Wagner’s musical and dramatic innovations, as well as his essays, resonated within Mann’s literary universe. It was an influence so profound that Mann himself acknowledged living "in [Wagner's] shadow". This was not a passive reception but an active engagement that led to a unique genre model in Mann's hands – the "anti-novel" – directly inspired by Wagner's musical dramas.

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A Stormy Voyage: Opera North's Flying Dutchman Navigates Choppy Conceptual Seas at The Lowry, Manchester

Clearly very late. The fault is mine. Ed

Here at The Wagnerian, our ears are always keenly attuned to the latest stirrings in the world of Richard Wagner. Opera North, bless their bold hearts, has a well-earned reputation for daring interpretations, and their recent embarkation with Der fliegende Holländer at The Lowry in Manchester was certainly no exception. It was a production that, much like the Dutchman's cursed vessel, sailed into some rather tempestuous conceptual waters, yet ultimately, and thankfully, found its anchorage in magnificent musicality.

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Wagner's Humanity: A Prescription for Medical Minds?

An unexpected intersection has emerged between the grand, dramatic world of Richard Wagner's operas and the rigorous, empathetic demands of medicine. A recent article in the Oxford Postgraduate Medical Journal, a publication not typically gracing our opera-focused pages, proposes a compelling idea: Wagner's Gesamtkunstwerk as a tool to cultivate essential humanistic qualities in future medical professionals.

Authored by Dr. Gunter Wolf of the University Hospital Jena, the article suggests that despite Wagner's complex personal history, his works offer a potent, perhaps even vital, resource for medical students. In an increasingly commercialized healthcare landscape, virtues like empathy and compassion risk being overlooked. While "narrative medicine" often employs poetry and novels, Dr. Wolf argues that opera, particularly Wagner's, can be equally, if not more, impactful. He posits that Wagner's operas reflect the "multifaceted human condition," encompassing nearly every human feeling, conflict, and psychological problem imaginable – from suffering and compassion to ultimate redemption.

What's particularly captivating is Dr. Wolf's willingness to embrace Wagner's more challenging aspects. He acknowledges what he describes as the composer's "self-centered personality," his "notorious nationalistic and anti-Semitic essays," and his "unsteady life." (Ed: I wonder how many lives are ever "steady"?) Yet, he boldly suggests that even studying the "corrupt and manipulative unstable character"  of Wotan in the Ring cycle can serve as a valuable "negative role model." This, he argues, can teach medical students about the destructive effects of the relentless quest for money and power. Dr. Wolf wryly notes that "it makes it no better that the main corruptive character is the God Wotan and it is the strength of Wagner to work out that not only humans can fail, but also Gods."

But it's not all divine misbehavior. The article also highlights how themes of "deep compassion and pity can certainly be studied in almost every one of Wagner's operas," with Parsifal as a prime example. Furthermore, Dr. Wolf points to Wagner's "strong" and "self-conscious women" – Senta, Elisabeth, Elsa, Isolde, Sieglinde, and Brünnhilde – who "rebel against traditional role models." This, he suggests, can aid medical students in appreciating gender dynamics and diverse role models within their own profession.

For those daunted by the sheer scale of Wagner's plots, Dr. Wolf offers a comforting thought: simply listening to the music, without delving into every intricate detail, can improve professional behavior and job satisfaction.

So, the next time you find yourself immersed in the glorious sound world of Bayreuth, consider that you might not merely be enjoying a masterpiece. You could also be engaging in a profound lesson in humanity, one that even the most dedicated of doctors could benefit from.

We highly recommend our readers seek out the original article (By Clicking HERE) for a deeper dive into this fascinating intersection of art and science. It certainly provides a fresh perspective on why Wagner's enduring power resonates far beyond the opera house.

Charles Gramlin

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The 'Ring' That Roared: Bayreuth's 1976 Chéreau Production and the Audience Divided"

Gather 'round, and let's cast our minds back to a rather infamous moment in Wagnerian history: Patrice Chéreau and Pierre Boulez’s 1976 "Ring" cycle at the Bayreuth Festival. Oh, what a stir it caused! This particular production, as we can vividly see captured in the footage from that tumultuous premiere, was a veritable lightning rod for opinion.

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Your Guide to Wagner in 2026

Please note, it's rather early and we have been known to make the odd mistake (Ed: tell me about it). With that in mind, please use this only as a guide and check before booking with each company. Also, it is unlikely that we have included everything known so far. We always happily receive additions and corrections. 

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Wagner Performances: 2026 Season

🇺🇸 Metropolitan Opera (The Met), New York, USA

Tristan und Isolde (New Production)

Directed by Yuval Sharon, starring Lise Davidsen and Michael Spyres. Conducted by Yannick Nézet-Séguin.

📅 March 9, 13, 17, 21 (matinee), 25, 29 (matinee), April 2, 2026

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🏴 Welsh National Opera (WNO), UK

The Flying Dutchman (New Production)

Directed by Jack Furness, conducted by Tomáš Hanus.

📍 April 16, 19 – Wales Millennium Centre, Cardiff

📍 May 15 – Birmingham Hippodrome

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🎭 Royal Opera House (ROH), London, UK

Siegfried

The third installment in Barrie Kosky’s new Ring Cycle for Covent Garden. Conducted by Sir Antonio Pappano.

📅 March 17, 21, 24, 28, 31, April 6 (matinee), 2026

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🇫🇷 Opéra de Paris (Bastille), France

Siegfried

Part of Calixto Bieito’s ongoing Ring Cycle. Conducted by Philippe Jordan.

📅 January 17, 20, 23, 26, 29, 31, 2026

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🎼 English National Opera (ENO) & Grange Park Opera, UK

Das Rheingold

Launching a new Ring Cycle at Grange Park Opera, featuring the ENO Orchestra. Conducted by Harry Sever.

📅 June 14, 20, 26, July 5, 10, 2026

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🌿 Longborough Festival Opera, UK

Tristan und Isolde (Revival)

Conducted by Anthony Negus.

📅 June 20, July 2, 5, 9, 12, 18, 2026

Die Meistersinger von Nürnberg (New Production)

⏳ Scheduled for 2027, following Longborough’s Ring Cycle milestone.

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🎭 Vienna State Opera (Wiener Staatsoper), Austria

Der Ring des Nibelungen (Sven-Eric Bechtolf production)

Conducted by Pablo Heras-Casado.

📅

Das Rheingold: May 19, June 6

Die Walküre: May 25, June 7

Siegfried: June 10

Götterdämmerung: June 14

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🏰 Deutsche Oper Berlin, Germany

Der Ring des Nibelungen (Stefan Herheim production)

Conducted by Sir Donald Runnicles.

📅 Full Cycle I: May 16 – May 25, 2026

📅 Full Cycle II: May 26 – May 31, 2026

🎟️ Tickets are primarily available as full-cycle packages.

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🟡 Bayreuth Festival, Germany — 150th Anniversary Season

A landmark summer season is expected to include:

A new Ring Cycle

Bayreuth premiere of Rienzi

📅 Full schedule and casting TBA

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Other Notable Performances (Operas & Concerts)

Götterdämmerung

• Atlanta Opera (USA): May 30, June 2, 5, 7, 2026

• Kölner Philharmonie (Germany): June 4 – concert with Concerto Köln, conducted by Kent Nagano

• Opéra Royal de Versailles (France): May 10 – concert version, conducted by Sébastien Rouland with Orchestre du Théâtre National de la Sarre

Symphonic Wagner Highlights

• London Symphony Orchestra (UK): May 24, 28 – Siegfried Idyll and Götterdämmerung excerpts, conducted by Sir Simon Rattle, with Anja Kampe and Elizabeth DeShong.

• Royal Philharmonic Orchestra (UK): May 17 – Parsifal: Symphonic Suite, Royal Festival Hall (part of a "Wagner x Taneyev" concert).

• Orchestre de Chambre de Lausanne (Switzerland): February 10 – selections from Tannhäuser, Tristan, Meistersinger, and Götterdämmerung, conducted by Bertrand de Billy.

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Valentin Schwarz Reflects on Bayreuth's Divisive 'Ring' Cycle

In a recent interview with Operawire, Valentin Schwarz, the director behind the Bayreuth Festival's impactful and often debated "Ring Cycle," offered a comprehensive reflection as his four-year tenure with the production approaches its conclusion in August 2025. This production has elicited a decidedly mixed critical response, frequently characterized by its "controversial" nature and a spectrum of reactions from "interesting" and "sometimes good" to outright "disrespectful" and "incoherent." Critics have noted the vociferous booing that often greeted Schwarz and his production team, particularly at the end of the cycle, indicating a strong audience division. (Hardy anything new at Bayreuth. Ed)

Schwarz, on his part, offered a profound perspective on his ongoing engagement with the "Ring," emphasizing the organic development and maturation of his "family of actors" over the years. He stated, "My 'family of actors' have grown, they have become more mature. It was the same visual setting, but between the actors there were always new details, new connections that developed." This commitment to seeing the production mature over time, rather than a fixed outcome, was a significant factor in his decision to remain with the project, underscoring his belief in the evolving nature of artistic creation.

Commenting on his "family of actors" is interesting given that a central tenet of Schwarz's vision, which drew both intrigue and criticism, was his reinterpretation of the "Ring" as primarily a saga of a "big family" with the story unfolding across generations, frequently employing children at the heart of the production. For instance, the "ring" itself was often symbolized by a child or youth, a concept that critics found both "intriguing" and at times, "unworkable" as the narrative progressed. Reviewers pointed to elements like the Rhine being depicted as a "children's ankle-deep paddling pool" and Wotan appearing less as a god and more as a "company chief executive or, maybe, head of the family." Some found the "ongoing element of the children 'leaders' educating and abusing other children, struggle and oppression already echoing down the ages" to be an "intriguing element.

Schwarz humbly attributed his capacity to tackle such a monumental Wagnerian task at a relatively young age to "a certain fearlessness and a certain curiosity." He views art not as a static, finished product but as an continuous exploration, emphatically stating that it is "never finished." He delved into the inherent contradictions and multifaceted layers of Wagner's "Ring," drawing insightful parallels between its complexities and the often perplexing uncertainties of our contemporary world. He explained that his directorial decisions were meticulously crafted to provide audiences with a coherent yet deeply reflective and thought-provoking operatic experience. He spoke about the challenges of such a grand work, noting that "the 'Ring' is so rich that it carries its own contradictions within it. It’s a very modern work and can be perceived as an absurd work because it doesn’t resolve itself." This perspective deeply informed his approach to the narrative.

The interview also highlighted the significant artistic latitude and trust bestowed upon him by Katharina Wagner at the Festival. Schwarz underscored the critical role of broader societal support and robust financial backing in cultivating an environment where artists can freely create bold and uninhibited works. "It takes a certain society and a certain financial structure to allow art to be this free and this bold," he remarked, emphasizing the responsibility that comes with such creative freedom. Looking towards his future endeavors, Schwarz is set to become the artistic director at the Deutsches Nationaltheater and Staatskapelle in Weimar. In this new and influential position, he plans to actively challenge and improve existing hierarchical structures within the theatre world. His vision extends to fostering innovative artistic creation, which includes cultivating a vibrant dialogue and interplay between traditional operatic approaches and more contemporary interpretations, signaling a forward-thinking direction for the institution. He expressed a desire to influence "the internal structure of such an institution" and create "new ways of creating art."

To read the full interview, please click this link: Q&A: Valentin Schwarz on the Bayreuth Festival’s Ring Cycle on OperaWire.com

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A New Overture for The Wagnerian Newsletter

Dear readers,

We're writing to you today with a brief, yet important, announcement regarding our beloved newsletter. As many of you will recall, for some time, we relied on Feedburner to deliver our latest articles, insights, and musings directly to your inboxes. Well, as the digital landscape shifts and services evolve – or, indeed, cease to operate – Feedburner, alas, no longer provides the facility for email subscriptions.

We freely admit that we've taken a little longer than ideal to address this change, and for that, we extend our sincerest apologies. In the whirlwind of dissecting Wagner's complex scores and debating the finer points of Bayreuth staging, some administrative necessities, regrettably, took a back seat.

However, we're pleased to report that the silence in our digital delivery has been broken. The Wagnerian has now found a new, more robust home for its newsletter service with Feed.it. This transition ensures that we can continue to bring you the in-depth analysis, critical commentary, and passionate discourse you've come to expect from us, all with renewed reliability.

The crucial detail, however, is this: to continue receiving our updates, you will need to re-subscribe to our newsletter through Feed.it. We understand this is an extra step, and we genuinely appreciate your patience and dedication as we navigate this necessary evolution.

Re-subscribing is straightforward and will only take a moment of your time. You can find the new subscription link prominently displayed on our website (on the left side of the main page. It's rather difficult to miss: Ed).  We encourage you to do so at your earliest convenience so you don't miss a single beat of the ongoing Wagnerian conversation.

We're excited about this new chapter and look forward to continuing to share our passion for Richard Wagner's extraordinary world directly with you.

Thank you for your unwavering support.

Yours in music,

The Editorial Team at The Wagnerian

PS: The Nibelungs have been working overtime (Ed)

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The Prophetic Squall: Decca's Der fliegende Holländer Unveiled. Lise Davidsen, Gerald Finley, Edward Gardner, et al

Review: James T Delaney

Ah, Der fliegende Holländer. The very name conjures forth the scent of brine and the taste of the North Sea's chill kiss. Wagner's first significant plunge into the mythic depths that would define his colossal career, a work still resonating with the primal forces of storm and human yearning. One recalls, of course, the composer's own harrowing sea voyage from Riga to London in 1839 aboard the schooner "The Thetis" – a journey beset by tempest and delay, where he took refuge in the tales of the spectral Dutchman from his sailors. That experience, etched deeply into his soul, surely infused the very fabric of this opera with an authentic, salt-laced dread and longing.

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Twitter

As regular visitors will know, we closed our Twitter account some time ago. However, and under slight protest, we have created a new account there. This was in response to those who feel they don't want, or can't leave, yet. We will simply tweet  links from here to there and are unlikely to interact or monitor the account, 

The account can be found by clicking here: @thewagnerian

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"Story of the Century" Hailed as Illuminating Deep Dive into Wagner's Ring Cycle Creation

In anticipation of a full review, we take a look at Michael Downes ' book, "Story Of The Century". Personally, I have only recently begun reading it, and so far am enjoying doing so, Ed. 

By Fred Oswald, Assistant Editor, The Wagnerian

Michael Downes's recently published work, Story of the Century: Wagner and the Creation of The Ring, has swiftly established itself as a significant and highly lauded contribution to Wagnerian literature. Reviews pouring in from a diverse array of sources—including major music publications, broadsheet newspapers, and cultural commentary blogs—unanimously celebrate the book for its remarkable blend of scholarly depth and accessible storytelling, offering a fresh perspective on the genesis of Richard Wagner's monumental operatic tetralogy.

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