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Sacred and profane: Robert Bailey traces the influence of Bach and Handel on the musical language of Wagner's revolutionary comedy Die Meistersinger von Nurnberg.

Opera News

| December 01, 2001 | Bailey, Robert | COPYRIGHT 2001 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Wagner's decision to create Die Meistersinger von Nurnberg was as courageous as any in the history of art. The new opera was to remain for several years Wagner's refuge against a world hostile to his artistic aims and "reforms," as well as insufficiently forthcoming with regard to his financial support (until the King of Bavaria became his patron for life, in 1864). After the opera's successful premiere, in Munich in June 1868, Wagner accepted the King's enthusiastic reaction but chided him for seeming to have missed its "lonely cry of the artist in distress."

Wagner set to work on Die Meistersinger more than a decade after the revolution he had helped to ...

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