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"Wagner, Richard, 1813-1883. Siegfried."
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Richard wagner and his World
Richard Wagner (1813-1883) aimed to be more than just a composer. He set out to redefine opera as a \"total work of art\" combining the highest aspirations of drama, poetry, the symphony, the visual arts, even religion and philosophy. Equally celebrated and vilified in his own time, Wagner continues to provoke debate today regarding his political legacy as well as his music and aesthetic theories. Wagner and His World examines his works in their intellectual and cultural contexts.
eBook
Richard Wagner, Fritz Lang, and the Nibelungen the dramaturgy of disavowal
This highly original book draws on narrative and film theory, psychoanalysis, and musicology to explore the relationship between aesthetics and anti-Semitism in two controversial landmarks in German culture. David Levin argues that Richard Wagner's opera cycleDer Ring des Nibelungenand Fritz Lang's 1920s filmDie Nibelungencreatively exploit contrasts between good and bad aesthetics to address the question of what is German and what is not. He shows that each work associates a villainous character, portrayed as non-Germanic and Jewish, with the sometimes dramatically awkward act of narration. For both Wagner and Lang, narration--or, in cinematic terms, visual presentation--possesses a typically Jewish potential for manipulation and control. Consistent with this view, Levin shows, the Germanic hero Siegfried is killed in each work by virtue of his unwitting adoption of a narrative role.
Levin begins with an explanation of the book's theoretical foundations and then applies these theories to close readings of, in turn, Wagner's cycle and Lang's film. He concludes by tracing how Germans have dealt with the Nibelungen myths in the wake of the Second World War, paying special attention to Michael Verhoeven's 1989 filmThe Nasty Girl. His fresh and interdisciplinary approach sheds new light not only on Wagner'sRingand Lang'sDie Nibelungen, but also on the ways in which aesthetics can be put to the service of aggression and hatred. The book is an important contribution to scholarship in film and music and also to the broader study of German culture and national identity.
eBook
Mother Mime:Siegfried, the Fairy Tale, and the Metaphysics of Sexual Difference
Richard Wagner'sSiegfriedconstitutes something of an anomaly within theRingcycle: the epic narrative of the Nibelungs and Valsungs grinds to a virtual halt, while two characters, Mime and Siegfried, reenact the fairy tale of the “youth who went forth to learn what fear is.” The fairy tale's mythic framework nevertheless reasserts itself within the fairytale enclosure in the guise of sexuality, in particular sexual difference: As Siegfried begins asking troubling questions about his paternity, Mime is thrust into the role of unitary origin, culminating in his desperate claim that he is Siegfried's “father and mother.” This article explores how exactly Wagner stages the tug of war between Siegfried and Mime over sexual difference, in particular in act I ofSiegfried, allying different ways of conceiving descent, knowledge, and love with either the epic or the anti-epic (which Wagner associates with the fairy tale). This turns the generic struggle at the heart ofSiegfriedinto a struggle between two kinds of families laying claim to Siegfried's paternity: the Gods of Valhalla who reproduce sexually, and the Nibelungs who are capable only of asexual reproduction of the self-same. This article argues that Wagner draws on his own speculations on sexuality, race, and history, in particular his idiosyncratic reading of Schopenhauer, to overlay this opposition not only with moral significations, but racial ones as well.
Journal Article
Richard Wagner, Fritz Lang, and the Nibelungen : the dramaturgy of disavowal
This highly original book draws on narrative and film theory, psychoanalysis, and musicology to explore the relationship between aesthetics and anti-Semitism in two controversial landmarks in German culture. David Levin argues that Richard Wagner's opera cycle Der Ring des Nibelungen and Fritz Lang's 1920s film Die Nibelungen creatively exploit contrasts between good and bad aesthetics to address the question of what is German and what is not. He shows that each work associates a villainous character, portrayed as non-Germanic and Jewish, with the sometimes dramatically awkward act of narration. For both Wagner and Lang, narration--or, in cinematic terms, visual presentation--possesses a typically Jewish potential for manipulation and control. Consistent with this view, Levin shows, the Germanic hero Siegfried is killed in each work by virtue of his unwitting adoption of a narrative role. Levin begins with an explanation of the book's theoretical foundations and then applies these theories to close readings of, in turn, Wagner's cycle and Lang's film. He concludes by tracing how Germans have dealt with the Nibelungen myths in the wake of the Second World War, paying special attention to Michael Verhoeven's 1989 film The Nasty Girl. His fresh and interdisciplinary approach sheds new light not only on Wagner's Ring and Lang's Die Nibelungen, but also on the ways in which aesthetics can be put to the service of aggression and hatred. The book is an important contribution to scholarship in film and music and also to the broader study of German culture and national identity.
eBook
Toward a new understanding of the wanderer in 'Siegfried', act III: Wotan's voluntary moral step backward
The thesis that Wotan, or Wotan in combination with Siegfried and Br nnhilde, embodies a moral-philosophical progression is hardly new. Aside from Wagner's own explanations, articles in the Bayreuther Bl tter and the Richard Wagner Jahrbuch by authors such as Otto Eiser, Josef Schalk, Alois H fler, and Robert Petsch contain numerous explanations of Wotan's character development, philosophical and otherwise, in the years immediately following the premiere and into the first decades of the twentieth century. More recent studies include those in which the Ring is analysed by comparing it to a philosophical system such as Theodor Adorno's Schopenhauerian, Carl Dahlhaus's Feuerbachian, Sandra Corse's Hegelian and Joachim K hler's Schellingian analyses, not to mention the numerous analyses dealing with aspects of Wotan's character like Joachim Herz's 'The Figure and Fate of Wotan in Wagner's Ring.'
Journal Article
Toward a new understanding of the wanderer in 'Siegfried', act III: Wotan's voluntary moral step backward
The thesis that Wotan, or Wotan in combination with Siegfried and Br nnhilde, embodies a moral-philosophical progression is hardly new. Aside from Wagner's own explanations, articles in the Bayreuther Bl tter and the Richard Wagner Jahrbuch by authors such as Otto Eiser, Josef Schalk, Alois H fler, and Robert Petsch contain numerous explanations of Wotan's character development, philosophical and otherwise, in the years immediately following the premiere and into the first decades of the twentieth century. More recent studies include those in which the Ring is analysed by comparing it to a philosophical system such as Theodor Adorno's Schopenhauerian, Carl Dahlhaus's Feuerbachian, Sandra Corse's Hegelian and Joachim K hler's Schellingian analyses, not to mention the numerous analyses dealing with aspects of Wotan's character like Joachim Herz's 'The Figure and Fate of Wotan in Wagner's Ring.'
Journal Article
'Siegfried' a tale full of love, dragon, sword
After Mime has tried without success to reforge the sword left to [Siegfried] by his mother, Siegfried does the job himself. Mime plots to kill him once he has dispatched Fafner. He brings Siegfried to the dragon's lair. The youth slays Fafner. A forest bird warns him of the curse that lies on the gold he has guarded. He is also told of Mime's treachery and of Brunnhilde, whom he must awaken on a mountaintop ringed by fire. He finds the ring, kills Mime and follows the forest bird to Brunnhilde's rock.
Newspaper Article
Safe and comfy
Christiansen reviews two operas: \"Die Meistersinger von Nurnberg,\" by Richard Wagner and performed by the Royal Opera at Covent Garden, and \"Cornet Christoph Rilke's Song of Love and Death\" by Siegfried Matthus and performed by the Glyndebourne Touring Opera.
Magazine Article
A Theme Of Endless Variations: Wagner
Aside from Heiner Muller's new production of \"Tristan und Isolde,\" other Wagner operas are being offered at Bayreuth this summer, all tilted toward the early end of the canon of 10 works that constitutes this festival's eternally revolving repertory. The four stagings date from 1985, when Wolfgang Wagner's \"Tannhauser\" was new, to 1990, the year of Dieter Dorn's \"Fliegende Hollander.\" In between come Werner Herzog's \"Lohengrin\" from 1987 and Mr. Wagner's \"Parsifal\" from 1989. The casting story of the summer so far, however, has been Hans Sotin. For Hermann in \"Tannhauser,\" apologies were made for his \"limited movements\" because of an arm injury. Despite a cast, he then proceeded to sing the major bass parts the next three nights, as well: Daland in \"Der Fliegende Hollander,\" Heinrich in \"Lohengrin\" (replacing an indisposed Manfred Schenk) and, to cap this tour de force, Gurnemanz in \"Parsifal,\" probably the longest bass role in opera. Although he did have one memory lapse in the Good Friday Spell in the last act of \"Parsifal,\" more than six hours after the opera had begun, Mr. Sotin's big, burly bass held up unflaggingly, and he deserved his foot-stomping ovation. And Another Wagner Undaunted, Mr. [Peter P. Pachl] and Mr. [Konrad Bach] got their [Siegfried Wagner] project started last year with a production of the composer's first (1898) and most famous opera, \"Der Barenhauter,\" or \"The Bear Skinner,\" performed outdoors in the courtyard of the lovely Schloss Heidecksburg. This summer, with two performances cleverly timed to precede the opening of Bayreuth, thus attracting a clutch of visitors headed south, they revived \"Der Barenhauter\" and added \"Schwarzschwanenreich\" (\"The Kingdom of the Black Swan\"), from 1911.
Newspaper Article