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Wagner (Wagner, Siegfried - Composer): Richard Wagner
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Wagner (Wagner, Siegfried - Composer) also shows up in the Retriever categories:
Wagner (Northeast Conference) , and more.
Wagner (Northeast Conference) , and more.
David Belasco was as innovative in the American theater as Wagner was to the opera. Belasco was born in San Francisco on July25, 1853. He made his acting debut at age eleven, "as the young Duke of York in Richard III." In his later years, he turned to directing where he accomplished his greatest work.
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Though Los Angeles is at the center of this book, Wagner has moved far beyond it. Partly, this is a novel about architecture, with all its jargon and pretensions and cultural preeminence. The memorial in the title, around which Wagner’s inventions revolve, is a private monument that a billionaire wants to build on 200 acres in Big Sur, for a pair of relatives killed in the tsunami. The modern idea of the sacred often involves a well-known architect—one of those names spoken with a hush and ascribed almost godlike power. Wagner supplies the laugh track, disrupting the quiet around these chapel-builders. Richard Meier looks to one of the characters “like a well-heeled dentist, the type with something questionable on his hard drive.” Later, she riffs about Zaha Hadid branding opportunities: “ZH dildoes, ZH super-absorbent adult diapers.”
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Richard Wagner's musical heritage consists of a number of works for the theater. His operas should not be conceived as a sounding fulfillment of an ideology, but as bursting, lively, and last but not least effective music theater. It ... seems that Wagner's theoretical statements are in the center of the exegesis of his works.
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Richard Wagner based this masterpiece of Music-Theatre on medieval romances. They in turn were based on a mixture of history and legend. One of the most notable aspects of the story is the mysterious appearance of the Grail Knight Lohengrin, sailing down the River Scheldt in a Swan-Boat.
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Opera would never be the same after Wagner and for many composers his legacy proved a heavy burden. On the other hand, Richard Strauss accepted Wagnerian ideas but took them in wholly new directions. He first won fame with the scandalous Salome and the dark tragedy Elektra, in which tonality was pushed to the limits. Then Strauss changed tack in his greatest success, Der Rosenkavalier, where Mozart and Viennese waltzes became as important an influence as Wagner. Strauss continued to produce a highly varied body of operatic works, often with libretti by the poet Hugo von Hofmannsthal, right up until Capriccio in 1942. Other composers who made individual contributions to German opera in the early 20th century include Zemlinsky, Hindemith, Kurt Weill and the Italian-born Ferruccio Busoni.
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[F]or Shaw’s "Perfect-Wagnerites," the control & continuation of the Artistic-Heritage of Richard Wagner should remain in The Family & in the Festspielhaus. But even when Wolfgang Wagner finally does retire—or Time takes its toll—there is no shortage of Family-Candidates.
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Richard Wagner