A meticulous diarist, Cosima never mentioned the arrival of these items in her daily journal entries, "fuelling speculation that Wagner may in fact have ordered the dresses for himself," according to Stewart Spencer, writing in the Wagner Journal.Gasoline, indeed: absence of evidence is not evidence. As detailed as Wagner was with the appearance of his operas...
Many of Wagner’s own meticulous stage directions are scrupulously observed. In the first scene, Sieglinde, exactly as Wagner specifies, "with quiet deliberation opens the cupboard, fills a drinking horn and then sprinkles some herbs into it from a box." Then, just as indicated bar-for-bar in the score, she looks around to see Siegmund, who all the while is watching her. This precise choreography continues until "with a final look at Siegmund she goes into the bedroom and shuts the door behind her." The effect of such traditional staging is that we are untroubled by interpretative incongruities and find ourselves increasingly vulnerable to the insidious spell of the music....so may he have been with the appearance of his second wife Cosima (note satin dress.) Nothing more, nothing less.
"One sentence that Wagner wrote shocked me deeply... Wagner wrote that one day the German people would not shrink from their sacred duty to find a 'great solution to the Jewish problem.'".Wagner's writings -- like the appallingly savage Das Judenthum in der Musik or the equally shameful Deutsche Kunst und Deutsche Politik -- are a blueprint for the Shoah; his music -- with its childish fascination with Ubermenschen and his cartoonishly bad theories on Christianity (such as his insistence that Jesus was most certainly not a Jew) -- the perfect soundtrack for the destruction of the Jews he hated so.
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posted by cenoxo at 8:18 AM on March 1, 2007 [1 favorite]