Overview

The operatic festival Richard Wagner founded at Bayreuth in 1876 is the oldest, most famous and most influential in the world. Its productions and musical standards have been a model for opera houses everywhere, and Bayreuth has become a place of pilgrimage for music lovers, and the ultimate objective for singers and conductors. The story of the festival is however not just about an opera house but about a family, a society and an art form. The creation of a fervent German chauvinist, Bayreuth came to epitomize the tortured development of the German nation after unification in 1871. The festival became a citadel of racism and reaction, and the cultural showpiece of the Third Reich and Hitler's artistic centre. Here for the first time is a full-scale, serious, narrative account of the festival, based on wide-ranging research and interviews, which explains the political, managerial, social and artistic context of the Festival. It provides candid, sharply-etched portraits of the members of the Wagner family, their friends, enemies and critics, and of the controversy that has characterised it for over a century.

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A smart, splendid account of the world's most famous - and quirkiest - serious music festival. Less than a century elapsed between the age of Mozart, when musicians were the servants of great princes, and the age of Wagner, who made royalty his servants and idolaters. The crowning act in this unparalleled social role reversal was the erection in the early 1870s of a temple in which to stage the Meister's lengthy music dramas, particularly the four-opera, 19-hour Ring cycle and the sacred festival play Parsifal. It was (and still is) a peculiar, wooden barnlike structure on a hill in a drab, sleepy, and otherwise undistinguished provincial German town. Yet for 118 years, the Festspielhaus has hypnotized the world's musical and social aristocracy, who brave the August heat, the uncomfortable seats, and the cramped accommodations to sit in hushed reverence for hours of music - afraid to cough or stir for fear of their neighbors' icy glances. It's all very German, and Spotts, an associate of the Center for European Studies at Harvard, does not slight the story's darker side: Bayreuth's symbolic significance as a shrine for German nationalism and, ultimately, fascism and anti-semitism. Richard Wagner died before the festival was a decade old; its management passed to his widow, Cosima, and later to his children and grandchildren. Unsurprisingly, given his own craziness, Wagner spawned a sizeable population of difficult characters and a few genuinely talented artists, in particular his grandson Wolfgang, a superb director who dragged Bayreuth into a new age of theatrical innovation after it had been tarred by the racist brush of the older generation. Spotts decribes them all perceptively and is also good on the unusual acoustics of the theater itself, with its famous hooded orchestra pit. An important, elegantly written, deeply engrossing cultural history of this unique (and uniquely strange) cultural institution. (Kirkus Reviews)

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