Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev12 wagner
Rev12b buschinger
Rev12c piontek
Rev12d gier
Rev12e abels
Rev12f tschorner
Rev12g stollberg
Rev12h pachl
Rev12i leblanc
Rev12j pappel
Rev12k nystrom
Rev12a preface

It was an obsession with Richard Wagner to identify himself and people he knew with his protagonists and their antagonists. He often transformed episodes from his life into something sublime. To a certain extent he used both Tristan and Isolde and The Mastersingers of Nuremberg to rewrite his somewhat trivial platonic affair with Mathilde Wesendonck, portraying himself as a romantic lover in the roles of Tristan and Stolzing, and as a Schopenhauerian sage in the part of Sachs. Even though he sometimes called his often changing mistresses Brünnhilde or Eva after his heroines, they cannot be said to have been what they are: humble and timid on the one hand, exuberant in love and prepared to sacrifice everything to their partners on the other. Their function is mostly the redemption of the protagonist which they bring about by making him feel “complete” (Eva, Brünnhilde) or by dying some sort of love death (from Senta’s suicide to death as a consequence of ultimate abnegation in the case of Isolde). Extracts from letters to Wagner’s first wife Minna prove that his views on women were not politically correct (to say the least), but consistent with the female characters in his operas. We come to the conclusion that we should no longer try to denounce or to excuse the lack of political correctness of the composer himself and of his operas, but love his works without a bad conscience because political correctness is an altogether inappropriate category to judge art.


N° 12f

Richard Wagner, Die Meistersinger von Nürnberg

Sylvia Tschörner

Vill / Innsbruck

„Bliebst du im Paradies, da gab es keinen Kies“. Richard Wagners «unvorhandene, ersehnte, geahnte, unendlich weibliche Weib[er]»


Danielle Buschinger
Danielle Buschinger - Der historische Meistersang

Frank Piontek
Frank Piontek - Zur verhinderten Nürnberger Uraufführungder

Albert Gier
Albert Gier - Komëdie als ideendrama

Norbert Abels
Norbert Abels - Hohn und Lohn

Sylvia Tschörner
Sylvia Tschörner - „Bliebst du im Paradies, / da gab es keinen Kies“

Arne Stollberg
Arne Stollberg - die „protestantische“ Musik der Meistersinger

Peter P. Pachl
Peter P. Pachl - Frühe Meistersinger-Rezeption

Cécile Leblanc
Cécile Leblanc - L'Ardoise de Beckmesser

Kristel Pappel
Kristel Pappel - Netzwerk in den Ostseeprovinzen Russlands

Esbjörn Nyström
Esbjörn Nyström - Zieltext als Dichtung?