Opera and Drama
Encyclopedia
"Opera and Drama" is a long essay written by Richard Wagner
in 1851 setting out his ideas on the ideal characteristics of opera as an art form. It belongs with other essays of the period in which Wagner attempted to explain and reconcile his political and artistic ideas, at a time when he was working on the libretti
, and later the music, of his Ring cycle.
translation), "Opera and Drama" is perhaps better described by the word 'treatise', as suggested by its translator W. Ashton Ellis. It follows from his earlier writings of the period 1849-1850: more particularly "Art and Revolution
" (1849), which sets out Wagner's ideals for an artwork that would be appropriate for his ideal society; "The Artwork of the Future
" (1849), which sets out ideas for a music drama which would meet such ideals; and "Jewishness in Music
" (1850), which (amongst other matters) excoriates commercialism
in art.
Wagner wrote the entire book in Zurich
in four months between October 1850 and January 1851. He gave public readings of large extracts in Zurich in early 1851, with a dedication to Theodor Uhlig
. Parts of it were published in the Monatschrift, an intellectual magazine, and the whole was published in Leipzig later in 1851. A second edition appeared in 1868, with a dedication to the German political writer Constantin Frantz.
The earliest English translation had appeared as early as 1856, but the translation generally used in the English-speaking world is that by W. Ashton Ellis, first published in 1893. Like the original, this is full of complex phrases, grammar and structure, which render the work difficult to absorb. Even Ellis commented that some 'tantalising epithets seemed to group themselves into a coruscation baffling all description.'
The first part, "Opera and the Nature of Music", is an extended attack on contemporary opera, with significant attacks on Rossini and Meyerbeer, whom Wagner regarded as betraying art for public acclaim and sensationalism. In this section Wagner makes his famous allegation of Meyerbeer's operas consisting of "effects without causes".
The second part, "The Play and the Nature of Dramatic Poetry" is Wagner's most extensive consideration of the role of poetry in his idealised music drama.
The last section, "The Arts of Poetry and Tone in the Drama of the Future", gives a conspectus of the ideal music drama as a whole—an ideal which, however, in reality Wagner was obliged to compromise to achieve success in his later works.
s in dramatic structure, and the way in which opera music could be organised on a different basis of organic growth and modulation
; and the function of musical motifs in linking elements of the plot whose connections might otherwise be inexplicit (what was to become known as the leitmotif
technique, although Wagner himself did not use this word).
Richard Wagner
Wilhelm Richard Wagner was a German composer, conductor, theatre director, philosopher, music theorist, poet, essayist and writer primarily known for his operas...
in 1851 setting out his ideas on the ideal characteristics of opera as an art form. It belongs with other essays of the period in which Wagner attempted to explain and reconcile his political and artistic ideas, at a time when he was working on the libretti
Libretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
, and later the music, of his Ring cycle.
Background
As the longest of all of Wagner's literary works apart from his autobiography Mein Leben (376 pages long in its EnglishEnglish language
English is a West Germanic language that arose in the Anglo-Saxon kingdoms of England and spread into what was to become south-east Scotland under the influence of the Anglian medieval kingdom of Northumbria...
translation), "Opera and Drama" is perhaps better described by the word 'treatise', as suggested by its translator W. Ashton Ellis. It follows from his earlier writings of the period 1849-1850: more particularly "Art and Revolution
Art and Revolution
"Art and Revolution" is a long essay by the composer Richard Wagner, originally published in 1849...
" (1849), which sets out Wagner's ideals for an artwork that would be appropriate for his ideal society; "The Artwork of the Future
The Artwork of the Future
"The Artwork of the Future" is a long essay written by Richard Wagner, first published in 1849 in Leipzig, in which he sets out some of his ideals on the topics of art in general and music drama in particular....
" (1849), which sets out ideas for a music drama which would meet such ideals; and "Jewishness in Music
Das Judenthum in der Musik
Das Judenthum in der Musik is an essay by Richard Wagner, attacking Jews in general and the composers Giacomo Meyerbeer and Felix Mendelssohn in particular, which was published under a pseudonym in the Neue Zeitschrift für Musik of Leipzig in...
" (1850), which (amongst other matters) excoriates commercialism
Commercialism
Commercialism, in its original meaning, is the practices, methods, aims, and spirit of commerce or business. Today, however, it primarily refers to the tendency within open-market capitalism to turn everything into objects, images, and services sold for the purpose of generating profit...
in art.
Wagner wrote the entire book in Zurich
Zürich
Zurich is the largest city in Switzerland and the capital of the canton of Zurich. It is located in central Switzerland at the northwestern tip of Lake Zurich...
in four months between October 1850 and January 1851. He gave public readings of large extracts in Zurich in early 1851, with a dedication to Theodor Uhlig
Theodor Uhlig
Theodor Uhlig was a German viola-player, composer and music critic.-Uhlig and Wagner:...
. Parts of it were published in the Monatschrift, an intellectual magazine, and the whole was published in Leipzig later in 1851. A second edition appeared in 1868, with a dedication to the German political writer Constantin Frantz.
The earliest English translation had appeared as early as 1856, but the translation generally used in the English-speaking world is that by W. Ashton Ellis, first published in 1893. Like the original, this is full of complex phrases, grammar and structure, which render the work difficult to absorb. Even Ellis commented that some 'tantalising epithets seemed to group themselves into a coruscation baffling all description.'
Overview
"Opera and Drama" is in three parts.The first part, "Opera and the Nature of Music", is an extended attack on contemporary opera, with significant attacks on Rossini and Meyerbeer, whom Wagner regarded as betraying art for public acclaim and sensationalism. In this section Wagner makes his famous allegation of Meyerbeer's operas consisting of "effects without causes".
The second part, "The Play and the Nature of Dramatic Poetry" is Wagner's most extensive consideration of the role of poetry in his idealised music drama.
The last section, "The Arts of Poetry and Tone in the Drama of the Future", gives a conspectus of the ideal music drama as a whole—an ideal which, however, in reality Wagner was obliged to compromise to achieve success in his later works.
Significance
The Wagner scholar Curt von Westernhagen identified three important problems discussed in the essay which were particularly relevant to Wagner's own operatic development: the problem of unifying verse stress with melody; the problems caused by formal ariaAria
An aria in music was originally any expressive melody, usually, but not always, performed by a singer. The term is now used almost exclusively to describe a self-contained piece for one voice usually with orchestral accompaniment...
s in dramatic structure, and the way in which opera music could be organised on a different basis of organic growth and modulation
Modulation (music)
In music, modulation is most commonly the act or process of changing from one key to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest...
; and the function of musical motifs in linking elements of the plot whose connections might otherwise be inexplicit (what was to become known as the leitmotif
Leitmotif
A leitmotif , sometimes written leit-motif, is a musical term , referring to a recurring theme, associated with a particular person, place, or idea. It is closely related to the musical idea of idée fixe...
technique, although Wagner himself did not use this word).