By M. Owen Lee
Richard Wagner's Die Meistersinger has constantly referred to as forth superlatives from those that have fallen less than its spell. Toscanini desired to lay his baton down for the final time basically after he had performed a functionality of it. Paderewski referred to as it 'the maximum paintings of genius ever completed by means of any artist in any box of human endeavour.' H.L. Mencken declared, 'It took extra ability to plot and write it than it took to devise and write the complete canon of Shakespeare.'
And but Wagner's many-splendoured comedy has come less than serious feedback lately for what has been known as its 'dark underside,' its 'fascist brutality,' and its 'ugly anti-Semitism.' In Wagner and the sweetness of Art, well known opera professional M. Owen Lee addresses that feedback. He additionally offers an creation to the opera and an research that would shock even these veteran operagoers who won't have explored the work's difficult constitution and the emotional drama at its centre. The publication comprises the on-air statement that Father Lee gave through the first radio broadcast from the Metropolitan Opera after the occasions of Sep 11. He inspiration it beneficial, after trying to refute the costs leveled opposed to Wagner's opera, to assert anything approximately its truthfulness, its life-affirming tune, its perception into the insanity which may break human lives, and its witness to the significance of artwork for the survival of our civilizations.
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Additional resources for Wagner and the Wonder of Art: An Introduction to Die Meistersinger
Sample text
And Act III is an Abgesang: as long as Acts I and II together, with a new strain of seriousness and purposefulness, effecting a harmonious solution of all the conflicts in Acts I and II. The whole opera, then, can be said to be one immense mastersong. The whole of Meistersinger is Wagner’s answer to his critics, a song offered to them to meet their specifications, marvellously replete with all the things they demanded from and found wanting in his other work – diatonic structures, counterpoint, singable tunes, duets, ensembles, folk dances worthy of Weber and chorales worthy of Bach, delicate genre scenes, and, above all, thoroughly human characters.
Shoemaking and poetry, I’m learning them both together,’ he says: Schumacherei und Poeterei, die lern’ ich da alleinerlei. First of all, David tells the young knight, you’ve got to master a good hundred tones – that is to say, in today’s parlance, a good hundred tunes. Now, I know easily a hundred tunes by Jerome Kern, but I doubt if I could have learned them all in a single night. And David expects the young knight to learn the short tune, the long tune, the overlong tune, the red, the blue, and the green tunes, the nightingale, the goldfinch, the lark, the pelican tunes – and many, many more.
She, overwhelmed by the song her knight has composed for her, knowing now that everything will turn out all right for them, bursts into tears of commingled joy and sorrow. The moment has finally come for Sachs: he must surrender Eva to the young man she loves. She clings to Sachs, still the little girl that he has loved, and he tenderly draws away, and places her in Walther’s arms. Then for a moment, he almost despairs. Is there anything left for him in life? Irrationally, he lashes out at David and Walther and Beckmesser and Eva, who have all come to him that morning.