The Life Of Richard Wagner, Volume 1: 1813-1848.
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VOLUME ONE ONLY-6 1/2"x9 5/8" 509 page black cloth hardcover biography of Richard Wagner. Publisher-Alfred A. Knopf in 1933
remarkable than has been usual from time immemorial in the theatrical profession. In addition, Geyer, with his painter’s instinct and technical experience, was peculiarly skilled in designing his own costumes. He even took a minor singing part occasionally. He had already displayed his agreeable, if not specifically trained, tenor voice once or twice in the Seconda company; and Weber thought enough of it to make use of it, at a pinch, for purely operatic ends. In 1817, as we have seen, Weber had
intelligent parrot, Papo (a present from Cornet, the theatre director at Hamburg), which, under the tuition of Minna, soon acquired quite a repertory of parlour tricks, including the whistling of selections from Rienzi. On November 19th Rienzi, which had been temporarily suspended owing to the absence of Schröder-Devrient from Dresden, appeared on the boards once more, Henriette Wüst having been persuaded to exchange her old part of Irene for that of Adriano. In January, 1844, he was surprised
influence of my sisters’ companionship. These were exchanged for a turbulent life, full of horseplay and quarrels.” Knowing the later Wagner as we do, and his constant flight to women to console him for the rough handling of men, we can readily imagine this sudden change for the worse in his environment intensifying his need for feminine sympathy. And as a matter of fact he himself tells us of a curious awakening of the erotic in him under these very circumstances. “Nevertheless,” he continues
produced at Weimar the earlier works of Wagner, had to complain to the Grand Duke Carl Alexander — who was perhaps the most enlightened of the rulers of the smaller German principalities, and sincerely anxious to preserve for his capital the position in the intellectual world it had won for itself under a previous Grand Duke and Goethe — that the forces at his disposal did not permit him to give the representative operas of the day the kind of performances they needed if their true quality was to
with the result that many a composer who would have existed comfortably in the old days as a kind of musical house-servant had now to go out into the open and fight for his living. Mozart died before the great change had time to make its effects felt. Haydn received his discharge when Prince Anton Esterhazy gave up his Kapelle in 1791, but was fortunate enough to be pensioned, and his great reputation enabled him to make large sums in England. Beethoven had to be supported in Vienna by a small