Wagner chronological table. Richard Wagner - Biography, Information, Personal Life
Richard Wagner was born on May 22, 1813, in Leipzig, in a small binide family. Entering the Saint Thoma School in 1828, he began his musical education. His first teacher was the church kantor T. Weinllig.
In 1831, Wagner became a University of Leipzig student.
Creative way
The period 1833-1842 was the most restless and at the same time fruitful. Constantly experiencing acute need for money, Wagner entered the position of theatrical Khommerster in Würzburg.
He worked as a choirmaster and a conductor in the Norwegian, Parisian and London theaters. While traveling in Europe, created the Faust Overture. Also at that time, the Opera "Flying Dutchman" was written.
He received deserved glory in 1842, when the Dresden Premiere of His Opera "Renzi, the last of the Tribunov" took place. In 1843, he entered the post of Capereister at the courtyard of the Saxon Monarch.
In 1849 he was directly involved in the May uprising. During revolutionary actions, I got acquainted with one of the founders of anarchy, M. A. Bakunin. When the uprising was defeated, Wagner fled to Switzerland. There was created the libretto of the tetralogy "Ring Nibelung".
In the same place, in Zurich, the Opera Tristan and Isolde was written.
Wagner influence
Opera reform provided a gigantic influence on music both in Europe and in Russia. Wagner was based on musical romanticismSimultaneously laying the basis for modernist currents.
The main propagandist of Wagner in Russia was his close friend, A. N.Serov. In addition, the work of an outstanding German composer was largely influenced by N. A. Rimsky-Korsakov. "Wagner notes" are clearly traced in the work of A. G. Rubinstein and A. N. Scriabin.
Last years of life and death
In 1864, Wagner became close to the Bavarian Monarch, Ludwig II. Monarch paid many of the composer's debts and rendered him comprehensive support.
Having moved to Munich, Wagner finished the "Rings of Nibelung" and created the comic opera "Nuremberg Masonzinger".
The premiere of the opera "Ring Nibelongov" took place in 1876. After 6 years, a loud premiere of Mystery "Parsifal" took place.
In 1882, the state of the health of the German composer deteriorated sharply and he went to Venice. The musician passed away in 1883, from a heart attack. Richard Wagner was buried in Bayreuth.
Other biography options
- Studying a brief biography of Richard Wagner , it should be known that he sympathized with the ideas of anti-Semitism. Low later in nazi Germany Almost the cult of the personality of the composer was created.
- Working on their operations, Wagner was dressed in costumes that corresponded to his era. According to him, he better "felt time."
- According to his own admission, he considered music as an affordable method of expressing his philosophical ideas. Wagner sympathized with many ideas
Richard Wagner's literary heritage is huge. The greatest interest is its work on the theory and history of art, as well as musical and critical articles. The extensive epistolar of Wagner and his diaries, as well as the memoir work "My Life" has been preserved.
Philosophy
As for the influences of various philosophers who experienced Wagner, they are traditionally called Feyerbach. A. F. Losev in draft sketches of his article about Wagner believes that the acquaintance of the composer with the works of Feyerbach was quite superficial. The key conclusion that Wagner made from reflections of Feyerbach was the need to refuse every philosophy, which, according to Losev, testifies to the principal refusal to any philosophical borrowing in the process free creativity. As before the influence of Schopenhauer, it was, apparently, stronger, and in the "Ring of Nibelung", as well as in Tristan and Isolde, one can detect paraphrase of some of the provisions of the Great Philosopher. However, it is hardly possible to say that Schopenhauer has become the source of his philosophical ideas for Wagner. Losev believes that Wagner comprehends the ideas of the philosopher so peculiarly, that only with a large stretch can be told about following them.
"Utopia of Art"
Interest in public themes never left Wagner. A peculiar Künstlertopie ("Utopia of Art") was described by the composer in the article "Art and Revolution", released in 1849 and before, and after that Wagner more than once will turn to the artist's place in the modern Society, but in this article the composer is the only one In a more or less systematized form, it will be spoken of its ideas about the ideal social structure and about the place of art in future world harmony. Written after the defeat of the revolutions of 1848, in the situation of considerable public pessimism about the possibility of a radically change the world for the better, the article Wagner is full of rear and confidence in the ambulance victory of the revolution. However, the revolution on the Vagneur is very different from the one that the rulers of the Duma and from the liberal, and from the socialist camp dreamed of the modern rulers. The revolution will be consecrated by the art that gives it a genuine beauty to her and to her. While in the tradition of classical German idealism, Wagner believed that ethics should naturally follow the aesthetics (excellent).
It is curious that many prerequisites for future wagner reflections are concentrated in this very optimistic and seemingly somewhat naive concept. We are talking, firstly, about determinism inherent in all buildings of Wagner. Indeed, the Vagneur revolution should not be, but will be consecrated by grace of art. Wagner sees in this logical completion of the circle of history. The revolution destroyed the Greek policies in which the theater allowed free citizens to reach the highest manifestations of the Spirit, since the vast majority of the inhabitants were slaves that needed only in one - freedom. In the change of Apollo, Christ came, who proclaimed the equality of all people, however, made them equally rebel against the natural nature of human sake of imaginary happiness in heaven. The last and real revolution, according to Wagner, should destroy the industry, that is, universal unification, which has become a dream and the edema of the new time. Thus, in the combination of two principles - universal freedom and beauty - world harmony will be achieved. In this last idea is visible the second feature Wagner's philosophical creativity - the focus on overcoming the time in which everything is concentrated, insignificant and at the same time vulgar. Finally, in the idea of \u200b\u200bfusion of revolution and art, the Wagner dualism is planned, which is likely to be rooted in the Platonic concept of the division of the initial human being.
Mystical symbolism
The philosophical and aesthetic basis of Wagner creativity A. F. Losev determines as a "mystical symbolism". The key to understanding the ontological concept of Wagner is the tetrallogium "Ring of Nibelung" and the Opera Tristan and Isolde. First, in the "Ring" completely embodied the dream of Wagner about musical universalism. "In the" Ring ", this theory was embodied by using leitmotifs when each idea and every poetic image is immediately organized with the help of a musical motive," writes loses. In addition, in the "Ring" fascination with the ideas of Schopenhauer fully affected. However, it should be remembered that the acquaintance with them occurred when the text of the tetralogy was ready and began working on music. Like Schopenhauer, Wagner feels the unfavorable and even meaninglessness of the foundation of the universe. The only meaning of the existence is thinking to renounce this worldwide and, immersed in the puchin of pure intelligence and inaction, find a genuine aesthetic pleasure in music. However, Wagner, unlike Schopenhauer, believes possible and even a predetermined world, in which people will not live in the name of a constant chase for gold, which in Wagner mythology and symbolizes the world will. Nothing is known about this world, but in his occurrence after the world catastrophe there is no doubt. The topic of the world catastrophe is very important for the ontology of "Rings" and, apparently, is a new rethinking of the revolution, which is not yet understood as a change public building, but [ ], it permits, according to Losev, a contradiction between the subject and the object on which the European culture is based. The most important is the topic of love and death, which for Wagner is inextricably linked. Love is inherently peculiar to a person, completely subordinating himself, just as death is the inevitable end of his life. It is in that sense that the Wagner love drink should be understood. "Freedom, bliss, pleasure, death and fatalistic predestination - that's what a love drink is so brilliant from Wagner," writes
Name: Richard Wagner
Age: 69 years old
Place of Birth: Leipzig, Germany
Place of death: Venice, Italy
Activity: composer, conductor
Family status: was married
Richard Wagner - biography
Wilhelm Richard Wagner is not a simple composer, it is a theorist of art, those who influenced the entire European culture of music and reformed Opera.
Childhood, Wagner Family
Richard's father was an official, but it turned out that the boy brought up stepfather, the actor Ludwig Geyer. Nine children were born in the Wagner family, but two children died, and when the future composer was born, his father died. The head of the family was a fan of the temple of Melpomen, and in his honor four of the children tied their lives with the theater.
In the biography of Richard's childhood, a lot of space was given to music, which the child began to study very early. This was our explanation: everyone was musically trained in the family. Parents put a fond of Richard drawing in a dead end. He portrayed fabulous beings With an incredible fantasy.
But once the boy watched the opera Weber about the hunter, and from that moment he really fell in love with music. it musical composition Fully corresponded to his child fantasies: the scene was abound unclean power and ghosts. Music fascinated, fascinated. He wanted to create the same charming sounds. Therefore, he undertook for the study of the theory on his own, along the way, imitating Great Beethoven. Primary education Richard received at the Leipzig School. Since 18, he began to connect all the musical sounds in Symphony and Sonata. The young man could not sit still, he leaves native city. For a long time, there is a Khreasister and a conductor in theaters of different cities from Magdeburg to Paris.
Immortal creativity of the composer
Wagner composed ingenious overtures and operas. The Royal Saxon Yard became a refuge for the composer for a while, there he worked in the position of Kapelmeister. Often, the music of Wagner reflected those feelings and emotions, which was filled with the world of the composer. It is more than all the other composer urged to turn to his nature, to the solid connection that exists between man and the whole nature as a whole.
Ideas Wagner
Art is created by a person and for a person - the idea of \u200b\u200ball Wagner's creativity. The Opera Theater from now on began to be perceived as the highest form of reproduction of works of art, like a temple. And what happened on the stage in the art temple, it was new name music drama. It was embodied the connection of words and music. This was the meaning of the whole life of the composer. "Flying Dutchman", "Tangayer" and "Loangrin", "Tristan and Isolde", "Nibelung Ring" and "Parsifal" are a number of masterpieces created by the German maestro.
Orchestra in Opere
The entire biography of the composer is life in music, in the opera and in its cultivation. Wagner climbed the opera art to life, denying excessive pomp and flax in a classic opera. In addition, he paid special attention not to the vocal execution of parties, but music that was called upon to reveal the feelings and experiences of the heroes of the work. The orchestra in his operations performed a separate role, he gave music characteristic Each hero, a living being, an object-symbol. The viewer does not have the opportunity to relax, it is constantly tense, since the musical junction will be only at the end of the work.
Philosophy in Wagner's Music
The passion for the ideas of the philosopher of Schopenhauer can be traced in the works of Wagner. The composer believes that the universe is imperfect, meaningless and unfavorable. Music should help find true pleasure. If humanity is chasing power and gold, then a world catastrophe may come very soon. Richard makes in his work only two themes of the most basic: love and death. He binds them inseparably in his operations. The system of leitmotifs inherited not only followers of Wagner, but also his contemporaries.
Even those who tried to criticize the creativity of the musician made Wagner theories in their orchestral sketches. Even N.A. Rimsky-Korsakov failed to avoid the influence of the German composer. A.N.Skryabin also succumbed to this modernized writing. All composers that have portrayed Vagneru sought, as he, to expand the borders of expressiveness in music, including harmony, opera and orchestral letter.
Some Russian great musicians occupied the opposite position in relation to the music of the Great Reformer. These were M.P.Morusorgsky and A.P. Borodin. Wagner, in turn, was so individual, which did not want to reckon with the work of some composers who had jewish roots ().
Richard Wagner - Biography of Privacy
In Magdeburg, Richard became acquainted with the actress of a mine glider. In the theater, Wagner did not glue, Prima went to Berlin. This departure of his beloved woman made the composer admit to love and make a proposal of hands and hearts. Marriage was hasty and unhappy. There was not enough money, the beloved was not an elevated nature and did not live in dreams. She was older than her husband for four years, referred to life very practical and did not understand the spouse. The theater was closed, two years, the composer lived in Riga, taught French, dreamed of conquering France.
All that you can, some of how to choose money for food, the composer hoped that success and glory would soon come. Minna got sick, Wagner fell for debts to prison - so he met Paris. Success found a musician in Germany, where he received the place of the head of the theater in Dresden. After revolutionary excitements The composer fled from his family to Switzerland. Minna saved, but with Wagner it was difficult to do, the woman had a heart. Richard began to lead a rampant life, fell in love with the marriage British Jesse Lossot. The composer moved to the leaf, the youngest daughter of which will become the last love of Wagner.
But this is a little later, while Richard walked in a sense to Matilde Wendonk, a married beauty, an elevated nature. This woman was always among the very first listeners of the works of the musician. But the married duty remained true duty for Matilda, she did not quit her husband for the sake of Wagner. And Westernonk forever remained a financial assistant and a friend for the composer.
Wagner (Wagner) Richard (1813-1883). German composer, conductor, librettist and musical writer. Born in Leipzig in the family of a police officer. Father died shortly after the birth of the Son, after which the family moved to Dresden. His mother again marries. FROM early childhood Richard was brought up in an atmosphere of art and theater (his stepfather was a talented actor and an artist). In 1829, to the young man who pulled to music, made an indelible impression by the execution of the Beethoven Opera Fidelio 1 in the play with participation Schroeder-devrient. In many respects, under the influence of this artistic experience, he finally decides to devote himself to composer creativity.
By the same year, the first experiments of Wagner as a composer. In 1831, he entered the University of Leipzig, engaged in the theory of music at the Cantor of the Church of St. Thomas. From 1833, his professional activity begins as a musician - he receives the place of Khmeuser at the Opera Treatment of Würzburg.
Further Wagner's Wagon is years creative search In the conditions of severe material deprivation. So it went on until he met in the fateful for him, 1864 his high patron and fan of King Ludwig II Bavarian, thanks to which, saved from everyday adversity, was able to fully focus on creativity.
The main place in the heritage of the composer occupies the opera. Wagner is a reformer of opera art, the figure is as majestic, so contradictory. In his art, he passed a long and thorny path from the imitation of romantic opuses Weber, Marsnet et al. to innovative musical drama Ring Nibelunga and final ParsiFhala. Possessing the literary talent, the composer himself wrote a libretto to his works.
His first Opera "Fairy" (1834, post. 1888, Munich) and "Ban of love" (1836, Magdeburg) are still very imperative. Based on traditional license system, they are written in the spirit german romanticism ("Fairy"), Italian and French comic operas ("Ban of Love").
In a big 5-actual opera Rienzi (1842, Dresden) Composer is also not quite independent, although this essay is a significant step forward. It is still possible to see an indirect effect. Spontini and Meyerbera. The pomp of the historical and costume plot in the spirit big Opera It was quite suitable for setting in the Paris Grand Opera, which is true, and then did not have to dream. The opera was delivered with great success, strengthened the determination to follow and then his thoroughly.
In essence, only in the next opera, romantic ballad Flying Dutchman (1843, Dresden) already begins to be viewed by distinct sprouts of the composer's reforming efforts. The presence of a leatem system (of course, not yet so branched, as in the late writings), large through scenes with free melodic deployment, overcoming the traditional division to the numbers (which still exist here) - this is evidence. Other tendencies of the future are visible: Aria already "seeks" to monologueAnd duets take a dialogic character. True, Wagner does not fully own here owns the form, in the composition there are longs, from which, however, and in the future he did not even get rid of.
IN Tangayizer (1845, Dresden) and especially in Loangrine (1850, Weimar) - two opuses, completing the first period of Wagner's creativity, when his artistic and aesthetic worldview was formed, "many people already appear. typical traits Mature Wagner style. Extremely important is through continuous dramaturgical development. Moreover, it is already felt not only in the form of building deployed scenes, but penetrates the musical tissue of the work. This is expressed in flexibility and freedom of presentation. vocal Parties, in elements infinite melody, the principles of which will be formulated by the composer in completed form later (1860). One of the very spectacular techniques, directly arising from the new principles of the development of the material and became the "branded" Wagnerovsky sign, has become a long preparation of climaz. In these works, the role of the orchestra also increases and the development of the opera symphony is obtained. Among the successful finds of the composer in Loangrine, a brilliant orchestral reception, which was delighted by P. I. Tchaikovsky, consisting in using the sound of strings in the highest register to transfer sublimated poetic feelings or ecstasy. If we talk about the ideological orientation of works that the Wagner had hardly decisive importance, then the sustainable interest of the composer to the themes of the "redemption", "love" thirst "to save the artistic nature from tragic loneliness in his hostile world around him.
Summing up this period of the composition of the composer, it can be stated that it was saturated with wrappers, looking for his way in music, as well as philosophical and political quests. Wagner under the influence of the ideas of M. Bakunina was infected with revolutionary ideas, which later overcame. In 1849, after the defeat of the Dresden uprising, in which the composer took part, he was even forced to flee from Germany through Paris to Switzerland.
A conductor started in Magdeburg became very useful for the composer. Here in 1834 his debut as a dropmeuser ( Don Juan Mozart). The work of Wagner in Königsberg and Dresden became fruitful on this field, where the authority of the composer after the success of Rientsi grew significantly. Among the most significant conducting accomplishments - Dresden Statement Iphigenia in Avlude Glitch in 1847 in new edition Wagner himself. In it, the composer tried, without entering a strong contradiction with the garlic score, make some changes to the tool, making the sound of the orchestra more modern. He also add a conclusion to an overture based on its independent concert performance, made another number of adjustments in music text. Later Wagner-conductor committed a number concert Turne In Europe, including visited Russia (1863). He first introduced a working person to the orchestra and his back to the public.
In the 50s. in Wagner is actively engaged literary work, the philosophical and aesthetic understanding of its worldview, the preparation and beginning of the work of the labor of the whole life is the "Ring of Nibelung" cycle. Among the most important theoretical works This period is the capital theoretical work "Opera and Drama" (1851), where he sets out its fundamental views on the opera genre and his life and artistic purpose. To understand its approach to the opera, we quote one of the main thoughts of the composer: "Error in artistic genre Opera consisted that the means of expression (music) was made target, and the purpose of the expression (drama) to the means. Thus, it is possible to make a major conclusion: for Wagner it was obvious that the opera should become musical drama. In essence, the entire further creative evolution of the composer is subordinated to this. Here are immediately visible those contradictions that leak out of such a thesis. Composer, in fact, crosses the entire history of the development of the opera to it. And, most importantly, the denying the system-forming role of music in the opera art, reduced it to the subordinate position of the commentator of a literary and dramatic design, Wagner deprives this genre of its specifics, and together with it of that living source, which is the only and give rise sensual artistic imageshaving a pronounced incomprehensible basis.
Of course, the original Thesis of Wagner is erroneous. And he is mine further creativityEssentially, he himself with the inevitability proves it. Strengthening symphonic principles and brilliant findings in the field of orchestral sound (for example, extended use of the range of strings and copper functions); Development of the leitmotive system and "Obuzykalivation" rechitative; New discoveries in the field of harmony ( Tristan-Accord, bold modulations and chromatisms, etc.) and melodies for a more adequate musical expression of feelings and emotions - isn't it recognition obvious factthat it is in music that needs to look for fixed assets of expression! And he, as a genuine artist, found them there. Moreover, if you add everything to all that most adequate literary foundation For the tasks facing the musical drama, Wagner saw in myfe, you can confidently state: the composer does not need anything casual and momentary, he is looking for eternal, incredit and comprehensive - exactly what can best give musical image, unlike verbal!
The perfect musical drama Wagner is thinking as cumulative work of art (Gesamtkunstwerk) - Synthesis of various arts (poetry, drama, music, scenography, plastics). However, if a composer acts as an innovative in the musical and dramatic plan, then in relation to the visualization of the opera and its stage incarnation, it is more than conservative. His ideas about the performances of performances are quite standard and quite correspond to the naturalistic routine, which was distributed in theatrical practice of those times. Such a state of affairs shows that reasoning about some synthesis for the most part and remained declarations. A number of insightful researchers (for example, Appia) It became clear at the end of the 19th century.
The beginning of the 50s. - The most important stage in the life of Wagner not only in the area of \u200b\u200bunderstanding the theoretical foundations of opera art. He was a person actions and, above all, an artist-creator. Therefore, the theory was certainly due to incarnate into some real forms of art. So he gradually formed the idea of \u200b\u200bcreating a musical epic on Nibelunga (see more Ring Nibelunga). By 1853, the full text of the libretto of the tetralogia was ready and imprinted with a small circulation for friends and like-minded people. At the same time, Wagner also shares his dream with his dream about creating a special theater to demonstrate musical drama.
In 1854, the composer completes the score Gold Raina, first part of the tetralogy, and in 1856 finishes Valkiria.. Further work on the "Ring" slowed down due to the passion of the plot Tristan and Isolde "The greatest love tragedy, in which the personal experiences of the author (his dramatic relationship with the wife of a close friend Matilde Wendeponk were elected). By 1859, the writing of this opera was completed.
In the meantime, creative and vital problems continued to pursue the composer. In 1861, the Paris premiere of the "Tangeizer" failed, despite the fact that Wagner tried to adapt the opera to the requirements of the Grand Opera, where the performance was put, in particular, significantly recycling and expanding the scene of the Vakhanlia in the Venus grotto. In 1864 composer, carried away by his daughter Sheet Goat, wife outstanding conductor Bulware, finally breaks up with the wife of Mine, on which he married back in 1836 (the relationship with her has long been difficult).
And then wonderful help comes represented by the new Bavarian Monarch Ludwig II, which brings the Creator to himself, pays for all his debts and creates conditions for calm creative work. The capital of Bavaria Munich becomes for the composer a happy harbor. It is here that under the control of the Bulob, who in the name of serving the art, to overcome personal resentments, the world premieres of his new creations are undergoing success - "Tristan and Isolds" (1865) and Nuremberg Masonzinger (1868), and then in 1869-70, the conductor F. Vülner on the initiative of the monarch, despite the opposition of the author, the first two parts of the tetralogy are performed.
Opera "Nuremberg Masonzinger", with its bright people's household flavor, comedy episodes, is a mansion in the work of the composer. In this work, the composer also with an unprecedented polemical burdion defends the right of the Creator to innovation.
Last period creative path Wagner is associated primarily, with the completion of the Nibelung Ring cycle ( Siegfried and Death of the gods) and the exercise of a long-standing dream of creating the theater to perform its operas, the place for which Bairet was elected (see Bayrytsky festival) Where the composer decided to settle. With the help of the king, the dream was finally implemented, and in 1874 the construction of the theater was successfully completed. By this time, the last point was set and in the tetralogy score, the premiere of which took place in Bayrey in 1876 under control Richter. Presentations collected whole color musical Europe. The premiere was attended by a sheet, Saint-Sans, Grieg, Brookner, Rubinstein, Cui, Serov, Tchaikovsky and many other largest musical art figures. The event had a huge resonance in Europe, although not all was estimated unequivocally. Not least, it was connected with the very ordinary scenic embodiment of the tetralogy.
"Nibelung Ring" - central work Wagner. In this giant mythological fresco, on the reasons for the Old History and the ancient German epic, he tried to embody, bring together all his aesthetic, social and musical ideas. The scales of theatrology are not impressive, so and suppress the listener, which should cover the architecture of this grandiose artistic building, which includes more than a hundred leitmotifs.
The historical and artistic significance of the premiere did not flow into commercial success. After three performances, the execution of the tetralogy had to stop. The regular activity of the theater, which started the beginning of the Bayrytsky festival, resumed only in 1882, when the publish was presented the last Opera Parsifal composer. This "solemn stage mystery" Wagner considered his bEST WORK. In it in the most chased and holistic form, all previous achievements and innovations of the composer in the field of drama and musical language were manifested.
In 1883, Wagner died in Venice.
The influence of Wagner on the global musical process is great. It was touched by his supporters and opponents, for even those composers whose creative principles were very far from Wagnerovsky, could not ignore his achievements. The spirit of accomplishments of the Grand German one way or another felt in the works of composers of completely different schools and directions - in harmonic language Roman Corsakov, in orchestral tempering Massne, and even Verdi In the musical dramatic of late works, not to mention composers of the 20th century.
Outstanding achievements of Wagner-musician are great and indisputable, which you can not say about his role as a reformer opera genre generally. If we consider the Wagner theory of the musical drama and its practical embodiment from a global artistic and historical point of view and from the height of modernity, it will have to admit that she played an ambiguous role in further development the opera genre, as a unique phenomenon of the new European culture, the dominant expressiveness of which was always not self-adhesive Dramagographic logic, and, above all, the creation of sensual musical images by means of singing "magic". In this sense, and in terms of opera organics, destructive moments are felt in the Wagner reform. First of all, it concerns the vocal, which the composer took a subordinate position.
Direct followers from Wagner, except for second-hand epigal, almost no. And most of the outstanding composers using his achievements went to their own way, where the Wagner aesthetics was not a point of attraction, but a kind of point of repulsion, even when it was a matter of the development of a musical and dramatic start in Opera. Bright examples Creativity of Mussorgsky or Debussy.
The basis of the creative heritage of Wagner is 13 operas. Along with them, the composer created a number symphony works, among them Symphony, several Overtures (including Brilliant Faust Overture), Orchestral Piece "Siegfried Idillia" based on the topics of the eponymous opera dedicated to the birth of Sygfried son (1869-1930), in the future composer and conductor, author Multiple operas. From the works of other genres, you can note 3 piano sonatas, several works for choir, songs laid on music 5 poems M. Westendonk for voice and piano. Peru Wagner also owns the theoretical work "Beethoven", the book of memoirs "My life", etc.
Wagner Operas:
"Wedding" - 1833, not finished.
"Fairy" - 1834, post. 1888, Munich, in the fairy tale "Female Snake" Gotszi.
"The ban of love" - \u200b\u200b1836, Magdeburg, according to the comedy V. Shakespeare "Measure".
"Renzi" ("Renzi, the last tribune") - 1842, Dresden, on the novel by E. Bulver-Litton.
"Flying Dutchman" - 1843, Dresden, Libretto by folk legend and Novella Gaine.
"Tangayer" ("Tangayizer and Singers Competition in Wartburg") - 1845, Dresden, Libretto for medieval legends.
"Loangrin" - 1850, Weimar, Libretto for medieval sagas.
Tristan and Isolde - 1865, Munich, Libretto in the Celtic Saga of Strasbourg.
Nuremberg Masonzinger - 1868, Munich, Libretto in the Nuremberg Chronicle of the 17th century.
"Nibelung Ring" - a cycle completely 1876, Baireit, Libretto on the Scandinavian and German epic.
- "Rhine Gold" - 1854, post. 1869, Munich.
- Valkyrie - 1856, post. 1870, Munich.
- Siegfried - 1876, Bairet.
- "The death of gods" - 1876, Bairet.
"PARSIFAL" - 1882, Bairet, on the poem V. Eschenbach.
1 - here and then recruited italic The word refers to the reader to the appropriate opera dictionary. Unfortunately, before publishing the full text of the dictionary, such links will be impossible.
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Wilhelm Richard Wagner
"Wilhelm Richard Wagner"
German opera composer. Author Opero "Flying Dutchman" (1840-1841), "Tangezer and Singers' competition in Wartburg" (1843-1845), "Loangrin" (1848), "Ring of Nibelung" (1848-1874), "Tristan and Isold" (1857 -1859), "PARSIFAL" (1877-1882) and others founded the Opera House "Festzpilhauses". The world masterpiece is recognized by the tetrallogium "Ring Nibelung" (1876). He led the Dresden Opera House (1842-1848).
Wilhelm Richard Wagner was born on May 22, 1813. In total, the family had nine children, but two died in early age. Father died in the year of the birth of Richard. At the request of the Father, Passionate Theater, the eldest daughter Rosalia became an actress: at the age of 16 she made his debut in the Leipzig Theater; Another daughter, Louise, from ten years spent on stage and also devoted himself to the theater; The third daughter, Clara, was early formed as an excellent singer and at 16 years old, successfully performed the role of Cinderella in the Opear of Rossini in Dresden in the theater of the Italian opera in Dresden. The eldest son Albert was preparing to devote himself to medicine, but the love of the theater took over, and he became a singer and director. The theater was connected and stepfather - actor, playwright and artist Ludwig Geyer, replaced by Richard Father.
Heier took care of the family of a deceased friend. He married Mother Richard - a simple, poorly educated, but merry and courageous Johanne Rosina, nee bests - and drove a family from Leipzig to Dresden. Richard loved Geyer very much and considered him his father. All his life he recalled him with gratitude. At the Wagner's Wagon's Wagon Table, the wall decorated his other portrait along with the portrait of a hot beloved mother, and Herb hangs over the door, invented by Wagner himself and portrayed Korshun ("Geier" in German - "Korshun").
Heyer was the first to express a guess of the path that Richard's life would go. On the eve of his death, he asked the boy to play him on the piano choir from the opera "Wolly arrows" Weber; Listening to the game of 8-year-old Richard, Geyer suddenly told his wife: "Maybe he is talent to music? .."
Wagner decided to devote himself to music and firmly walked along this path. He independently, without the help of teachers, studied the theory of composition. In 1831, he entered the University of Leipzig as a "Student Music". At the end of January 1833, Wagner went in search of happiness in Würzburg, after a year he moved to Leipzig.
The music season of 1834-1835 Wagner spent in Magdeburg, where he conducted in a small opera house. The theater affairs went bad, despite the energy of the new conductor, who fell in love and the public, and artists. Wagner decided not to return to Magdeburg anymore. But the meeting with Wilhelmina (Mine) glider, charming artist of this theater, made him work in Magdeburg for another season. Wagner made attempts to replenish the troupe, update the repertoire, but the fees continued to fall, and many artists began to look for new places. Among them was Minna, who left in Berlin. In complete despair, the letter Wagner begged Minnu to return and become his wife: Otherwise, "I decided to go to drink, throw all further activities And as soon as possible go to hell. "
In 1836, Minna became Wagner's wife. Later it turned out that hasty marriage did not bring happiness. A young, unsecured composer, obsessed with new grand ideas who believed in his great calling, and a beautiful practical woman (older than 4 years old), who did not love the theater, nor art, were completely strangers.
In addition, the director of the Magdeburg Theater declared himself bankrupt. Before the closure of the theater, Wagner hurked his opera "Prohibition of Love". Artists only from respect to him took a new product. However, only 10 days remained at the rehearsal, the parties were learned to sleep, all hopes were pinned on the souflera. At the premiere held March 29, 1836, the audience could hardly understand anything. Wagner wanted to distribute printed libretto to the audience, but the police demanded to change the name of the opera, which it seemed too free. Wagner hoped for the success of the second performance, but he did not take place: there were 3 people in the hall, and behind the scenes, the Music of Primateonna arranged a scene of jealousy, completed by the fight. So the scenic life ended the second opera Wagner - more "the ban of love" did not appear on the scene.
From 1837 to 1839, Wagner lived in Riga. He worked in theaters and took the lessons of French.
Wagner did not lose faith in his strength, he was full of ambitious hopes, he dreamed of conquering Paris, succeeding, fame, money. "It was the audacity of the artist," wrote later one of his friends. "With my wife, with a half opera, with a small wallet and a scary big, terribly voracious Newfoundland dog go across the sea and storms from Dvina right to the Seine to become famous in Paris. ! .. "Years spent in Paris were for Wagner, as well as for the young heroes of many Balzac Romanov, the time of" lost illusions ".
The position of Wagner was catastrophic. All valuable was laid in pawnshop and sold. Often he ran around the city all day - in the cold, in the fog, - to achieve delayed debts from creditors; Once, returned from such a campaign, without getting five francs for lunch, he found Minnu in tears: there was no pieces of bread in the house. Wagner tried not to lose courage, his friends were amazed by His inexhaustible yumor, but when Minna got sick and he did not buy a medicine, Wagner covered despair: "Help me God, I can no longer help myself.
"Wilhelm Richard Wagner"
I used everything, everything is the latest sources of the starving ... and I cursed my life; What else can I do? "Without delivering money, Wagner got into a debt prison and left it only in a month ...
In Paris, Wagner was very good at home and returned to Germany in 1942. "Triumph! Triumph! .. The day has come! Let him shine to you all!" - So wrote Wagner to his friends about the premiere of Renzi in Dresden on October 20, 1842. An observer musician who died in a poverty in Paris suddenly became a fashion composer, a celebrity; The newspaper placed his autobiography with a portrait. The noisy success of the luxurious "Renzi" was for Wagner surprise. He received a place in one of the best Dresden theater in Germany. But he gives the main forces. After the opera "Renzi" and the "Flying Dutchman", he wrote two more - "Tangayizer" and "Loengrin".
Wagner's outfits were also luxurious and sophisticated: he preferred lace shirts, satin pants and satin silk bathrobes. Due to love for luxury and financial irresponsibility, Wagner once spent the night in a debt prison.
In March 1848, a revolution began in Germany. Wagner welcomed her, but soon the uprising was defeated. The composer was forced to flee from Germany to Switzerland, where she lived for nine years.
Wagner's personal life has not yet been established. Mint has developed a heart disease. With all his might, she tried economically to keep the farm, and Wagner spent a lot and abuse. Without finding satisfaction with your artistic requests, away from the homeland, torn away from the usual rapid activity, devoid of opportunities to see their operas delivered, not receiving impulses for creativity from the outside and at the same time continuing to hardly create, Wagner needed her home comfort. He became more and more striving for luxury, which did not correspond to his scarce means, "the apartment furnished lifestyle, went to travel to the Alps, then to Italy, went to have fun in Paris, where he used the favor of the famous Kurtisani Pavia. He met Jesse Lossot, an excellent 21-year-old Englishman, whose husband had a composer financial assistance. Jesse struck the composer with beauty and mind. They were even going to go to Greece together. However, her husband learned about this and threatened to kill Wagner. Mr. Lossot took his wife with him. Wagner tried to pursue them, but Jesse's husband turned to the police, after which the composer had to retreat. However, Richard continued to enjoy life. To ensure the opportunity to lead such life, according to the composer, his friends and fans were supposed.
Near Wagner formed a mug of devotees. Over the years, they became more and more. In Zurich, he was often located a sheet, the architect Zemper was settled here, which fled after the defendian uprising of England (where Wagner found him during a trip to London), the poet Gerveg is also a political exile.
In August 1857, the youngest daughter of Sheet, Kozima, became the wife of Bulob. Soon, young spouses went to swim to Vagneru. The composer then lived in the "shelter on a green hill" - in a house built specifically for Wagner with a rich merchant Otto Wender next to his villa, in a picturesque area near Zurich. Kozima, very similar to the sheet, caused universal admiration of Wagner's friends; Herveg dedicated her poems. And Wagner remembered that four years ago, speaking sheet to Paris, he met there at a family evening with his children - two daughters and her son. About Kozim, which was not even 16 for another 16 years, retained a vague memory: the impression of very shy adolescents on Wagner, and he seemed to do not even remember their names. But now Wagner wrote in admiration: "If you know Kozim, you will agree with me that the young couple is created for all sorts of happiness, which is only possible. With a big mind and actual genius in these men, so much lightness, so much gust that you can feel so much It is only very good. " Kozima really brought "happiness, what is only possible," but not Bühlev, but to Vagneru ...
However, in 1857, the composer has not yet present that this woman is younger for 24 years, it is destined to become his last and genuine love. In those years, Wagner was covered by a fervent passion for Matilde Wendonk. Their acquaintance occurred in early 1852 in Zurich. Otto Venedonk, Knowing the cramped financial situation Composer, offered him his hospitality. Wagner immediately fell in love with his wife: 24-year-old Matilda was distinguished by rare beauty, charm, a poetic shower warehouse. She composed poems, thinly felt the music and bowed to the genius of Wagner. "The best thing I knew," recalled Matilda subsequently, "I got from Wagner." In turn, Richard wrote to her:
"And my sweet muse is still away? I was waiting for her visits; I didn't want to disturb her. Muza, like love, makes free. Mountiful fool, grief of love, if he helps to take what he does not give him voluntarily. They cannot be brought. Isn't it? How could love be a museum if she allowed themselves to force themselves?
And my sweet muse is still away from me? "
He shared with her artistic design, read my articles, wrote her to the album piano Sonata. And he created wonderful romances on her texts - "five poems for a female voice."
Wagner sent Matilde the first sketches that arose from him musical Topic - From "Valkyrie", "Siegfried", "Tristan and Isolde", "Maestezinger" and even "PARSIFAH". She was his first listener: the fact that Wagner composed in the morning, in the evenings he played Matilde. Love to Matilde Wendonk was inspired by one of the original operas Wagner - "Tristan and Isolde". This Opera, according to the composer, is a monument to the deepest unrequited love: "Although I was never given to experience the true happiness of love, I still want to put a monument to this beautiful utopia - such a monument in which everything, from the first to the last stroke, will be rich in love. In my head I wanders the thought of" Tristan and Isolde ": Simple, but full inspiration Music concept! A black flag that fits in the last act, I hide myself and - die!" Matilda Wendonk managed to subjugate his feeling for Vagneru Dolga in front of her husband and family (by that time she was the mother of three children). Otto Weshendonk remained another composer and continued to provide him with material assistance.
Minna Wagner did not believe that the relations of Matilda and her husband purely Platonic. Her fears were confirmed when she grabbed a love letter. Out of heaven, Minna arranged the scene first Richard and then Matilde. Werendonk about everything frankly told her husband, so it was surprised that Wagner did not dedicated Minnu in the details of their relationship. She broke with the composer and returned to her husband. Minna also left the house of Wagner. After this scandal, they almost did not live together.
The life of the composer was held in eternal wanderings: Paris, Vienna, Leipzig, St. Petersburg, Moscow. In Munich, he became the favorite of King Ludwig II, known for his unconventional sexual orientation. Monarch paid all the composer debts and current costs.
At the request of Wagner, his friend and student Hans Buloves were invited to Munich's music leadership in Munich, the premiere of Tristan was held under his office. Bullets settled here at the end of June 1864 with his wife, Goatoy and two daughters. The fifty-year-old Wagner became the lover of Mrs. Bullean. Five years before, Richard was fond of the older sister of Kozima Blandin. Kozim, living in the House of Wagner as his secretary, tried to create a family comfort to the composer, which he was so long deprived. Her marriage with Bühove turned out to be unhappy, and the love of Wagneru matured in her soul for a long time. The woman is calm in the lava, she did not endure the harsh outcomes of Hans. Nevertheless, at first she lived with her husband and Wagner, but then chose a lover.
Bulobs were hardly worried about the treason of his wife and a friend who was so devoted. Having learned about what happened from the accidentally opened Wagner letter to Kozim, he deeply hid his grief and said nothing even to his closest friends.
And under these conditions, Bulove continued to correctly serve the case of Wagner until the composer left Munich.
The behavior of Wagner deeply insulted not only the Bullov, but also another of his faithful friend - Sheet, Father Kozimi.
After leaving in 1865 the capital of Bavaria, Wagner settled down in Switzerland for a long time. Until the spring of 1866, he lived at the villa near Geneva, and in April settled near Lucerne, in Tribeshen.
But how no fee was life in the tribanche for the first "Swiss expulsion" Wagner! Six years spent here (1866-1872) were the most calm and happy in his turbulent life. The need and oppressive loneliness ended. Next to him was Kozima, the faithful and devoted friend, a man of strong will, perseverance, energy and ambitious not less than that of Wagner. On the slope of the years, he learned the happiness of fatherhood - the children who gave birth to the names of their loved ones one after another opera Heroes. Back in Munich, during the rehearsal "Tristan," was born of Isolde, behind her - blue-eyed, the ceremony Eva, named after the duchess of Masonzinger, and, finally, the desired son, named by Siegfried. His birth coincided with the completion of the Opera "Siegfried": "On that day, when I had a happiest, a beautiful son was born, I graduated from the song" Siegfried ", chopped by eleven years ago. The unheard of the case! Nobody would believe that I would do it. .. Only now I have to live in joy. Beautiful, strong son with high Lohn. and a clear look, Siegfried Richard inherits the name of his father and keeps his creation to the world, "wrote Wagner to a friend. He captured his mood of these days in bright and serene music" Siegfried Idylliya "for small symphony orchestrawho presented the poetic dedication to Kozim:
Let the one who appreciates Siegfries
Comes the sounds of the world born for
Wagner reached all - recognition, fame, secured position, happiness and love. Death inspired him at work. The composer died suddenly, from a heartbroken. His funeral was accompanied by truly royal honors.
Kozima in the proof of love and devotion to her husband cut off his hair, with which her husband admired her, and put them on a red pillow in the coffin under his head. She survived Wagner almost half a century and with great energy continued his case; She died in 1930, ninety-three years old.
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