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Updated: June 25, 2025
Quite possibly it was then thought that in a spoken play only mad persons should sing, just as Wagner insists that in music-drama only mad persons should speak; and as a good deal of singing was required, there were a good many mad parts. Probably Purcell would have treated all Wagner's characters, and all Berlioz's, as utterly and irretrievably mad.
I noted that wherever a situation analogous to one in the Wagnerian music-drama presented itself the music of the protean younger Richard was coloured by memories of the elder composer. For example, in Ariadne at Naxos, the heroine is discovered outstretched on her island in the very abandonment of despair.
Some day the Richard Wagner music-drama will be renovated on the scenic side Roller in Vienna has made a decided step in the right direction and the old Munich travesties, which Wagner thought he wanted, will be relegated to the limbo of meretricious art.
The poetry, then, is all-important in the music-drama. Wagner has rejected the forms of blank verse and rhyme as utterly unsuited to the lofty purposes of music, and has gone to the metrical principle of all the Teutonic and Slavonic poetry.
When Siegfried held the treasure he received the title "King of the Nibelungers." Though Richard Wagner's music-drama of the Nibelungen Ring bears some resemblance to the ancient German epic, it is a wholly independent composition and was derived from various old songs and sagas, which the dramatist wove into one great harmonious story.
Everyone on the stage and in the orchestra seemed to be inspired, and the audience in consequence was electrified. For my part, although I had heard this music-drama at least a dozen times previously, and knew every bar by heart, it seemed as if I had never heard it before, so vividly were all its beauties revealed in the white heat of Conductor Seidl's enthusiasm.
This opera, indeed, may also be called the direct precursor of Wagner's music-dramas. It contains eight "leading motives," which recur thirty times in course of the opera; and the dramatic recitatives are sometimes quite in the "Wagnerian" manner. But the most remarkable thing is that Weber uses language which practically sums up Wagner's idea of the music-drama.
That jab, Vall thought, following the servant out of the room, had been a mistake on Jard's part. A music-drama, for which he had designed the settings, was due to open here in Dhergabar in another ten days. Thalvan Dras would cherish spite, and a word from the Mavrad of Mnirna and Thalvabar would set a dozen critics to disparaging Jandar's work.
That young women should not make a practice of marrying old men, that illicit passions and intrigues may bring on disaster, that it is madness to make love to another man's wife in a garden, observable by all, that it is greater madness still to keep on when a maidservant is screaming that some one is coming these rules of conduct are very well in their way and might commend themselves to the denizens of Clapham; but, again, I hardly think Wagner would have constructed a great music-drama to enunciate them.
The fact that "Pelléas" is the most eloquent of all Debussy's works and his eternal sign does not, then, signify that he did not grow during the remainder of his life. A complex of determinants made of his music-drama the fullest expression of his genius, decreed that he should be living most completely at the moment he composed it.
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