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The Sorcerer of Bayreuth by Barry Millington
The Sorcerer of Bayreuth: Richard Wagner, his Work and his World
By Barry Millington
This book presents an in-depth but easy-to-read overview of Wagner's life, work and times. Making use of the very latest scholarship - much of it undertaken by the author himself in connection with his editorship of The Wagner Journal - Millington reassesses received notions about Wagner and his work. It is a radical - and occasionally controversial - reappraisal of this most perplexing of composers.
"Barry Millington has now written the book that many opera lovers have sought: a discussion of Wagner the man and his works in clear English, not too involved, not lost in musicological terms but covering all that an intelligent operagoer needs. All in all, this is a book that enlightens generally, contains much of Millington's own personal reactions to Wagner, and is marvelously readable." --Speight Jenkins, General Director, Seattle Opera
About the Author
Barry Millington is chief music critic for the London Evening Standard and the editor of The Wagner Journal. He has written and edited, or co-edited, seven books on Wagner, including The Wagner Compendium (1992), The Ring of the Nibelung: A Companion (1993), and the New Grove Guide to Wagner and his Operas (2006).
- Hardcover: 320 pages
- Publisher: Oxford University Press, USA (October 29, 2012)
- Product Dimensions: 9.5 x 6.9 x 1.5 inches
Richard Wagner’s Parsifal
First seen in 1882, Wagner’s final masterpiece was written specifically for the space and acoustics of the Bayreuth Festspielhaus, where it was meant to be performed exclusively. The Met presented the first staged production outside Bayreuth in 1903. With a score of magnificent subtlety and beauty and a story that blends the legend of the Holy Grail with Christian imagery, Buddhist ideas, and 19th-century European philosophy, Parsifal is a unique work that transcends the boundaries of the standard repertoire. “Parsifal is not just an opera—it’s a mission,” says François Girard, who directed the Met’s acclaimed 2013 production. “At the end of his life, Wagner was trying to reconcile all the aspects of his spirituality. It’s a sacred piece in the history of music.”
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