Notes on the Contributors

Chapters in this book

1. Frontmatter i
2. Contents v
3. Preface and Acknowledgments ix
4. Permissions xv
5. Part I. Essays
6. From Page to Stage: Wagner as Regisseur 3
7. Wagner and Liszt: Elective Affinities 27
8. From Opera to Music Drama: Nominal Loss, Titular Gain 65
9. Eine Kapitulation: Aristophanic Operetta as Cultural Warfare in 1870 87
10. A Note on Tristan’s Death Wish 123
11. Guides for Wagnerites: Leitmotifs and Wagnerian Listening 133
12. German Jews and Wagner 151
13. Part II. Biographical Contexts
14. Wilhelmine Schröder-Devrient and Wagner’s Dresden 201
15. Catulle Mendès Visits Tribschen 230
16. Recollections of Villa Wahnfried from Wagner’s American Dentist 237
17. Part III. Toward A Music Of The Future 1840–1860
18. The Overture to Tannhäuser 251
19. Letters to a Young Composer About Wagner 269
20. Franz Brendel’s Reconciliation Address 311
21. Part IV. Wagner and Paris
22. Wagner Admires Meyerbeer (Les Huguenots) 335
23. Debacle at the Paris Opéra: Tannhäuser and the French Critics, 1861 347
24. The Revue wagnérienne: Symbolism, Aestheticism, and Germanophilia 372
25. Part V. The Bayreuth Era
26. Press Releases from the Bayreuth Festival, 1876: An Early Attempt at Spin Control 391
27. Hanslick contra Wagner: “The Ring Cycle Comes to Vienna” and “Parsifal Literature” 409
28. Hans von Wolzogen’s Parsifal (1887) 426
29. Cosima Wagner’s Bayreuth 435
30. Part VI. The Complete Program Notes of Richard Wagner
31. Wagner Introduces Wagner (and Beethoven): Program Notes Written for Concert Performances by and of Richard Wagner 1846–1880 479
32. Index 523
33. Notes on the Contributors 539