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Wagner Beyond Good and Evil$
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John Deathridge

Print publication date: 2008

Print ISBN-13: 9780520254534

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520254534.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 29 July 2021

Public and Private Life Reflections on the Genesis of Tristan und Isolde and the Wesendonck Lieder

Public and Private Life Reflections on the Genesis of Tristan und Isolde and the Wesendonck Lieder

Chapter:
(p.117) 11. Public and Private Life Reflections on the Genesis of Tristan und Isolde and the Wesendonck Lieder
Source:
Wagner Beyond Good and Evil
Author(s):

John Deathridge

Publisher:
University of California Press
DOI:10.1525/california/9780520254534.003.0011

Tristan und Isolde had deep personal roots. Wagner's mention of the black flag suggests that he originally had a different idea of the opera's outcome. The development of Tristan und Isolde in Wagner's imagination gradually transformed the shadowy dilemma of his unhappy marriage and its petty jealousies into a wider examination of the tragedy of the human self as he saw it. Originally conceived as an opera that was to be relatively undemanding of its performers, it ended up being one of the most difficult works of the nineteenth century. However, since Tristan und Isolde was first put before its astonished audiences in 1865, nothing quite like it has ever been heard again. The strange tensions between the public and the private encoded in the drama, and even in the way its music unfolds, are doubtless one reason for the hold it still has.

Keywords:   Tristan und Isolde, personal roots, Wagner, public, private, opera

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