Middle Wagner

            With respects to the three operas Der Fliegnde Hollander (1843), Tannhauser (1845), and Lohengrin (1848) by Richard Wagner, Barry Millington writes: “All three operas are transitional within Wagner’s oeuvre, forming a kind of Rainbow Bridge to Valhalla of the fully through composed music drama.”  Millington also notes that while these operas represented a quintessential apex of German romantic opera, there were several aspects of foreign (Italian and French) influence. It was clear though, that Wagner was venturing with these pieces towards his fully mature style that would manifest itself in The Ring cycle.

            Der Fliegnde Hollander was composed in 1843 and performed the year it was finished. Like he would for The Ring Cycle, Wagner also wrote the libretto for this work. It is essentially a ghost-story that contains a redemptive element, to summarize; a ship captain meets with a cursed boat filled with a ghost-crew, unless the ghost captain is able to find a faithful wife he will be doomed to sail forever. The living captain on the ship plans to set up the dead captain with his daughter, after a few scenes and acts strangeness ensues when the girl throws herself into the sea (she was supposed to be true to the ghost-captain until her death) which breaks the curse and the spirits are allowed to ascend into heaven.  It is very interesting how many operas we have seen in Romantic Germany that requires the sacrifice or steadfastness of a woman in order to enact supernatural scenarios.

            Tannhauser was composed and performed in 1845; it was a successful opera in part due to its more uplifting story line. The legends of the roaming knight Tannhauser existed as separate stories but Wagner combined them into one piece. Tannhauser is notable for its use of tonal center representing characters, Millington writes; “That polarity is reflected directly in the music, for the key of E major is identified with the Venusberg, while E flat major is associated with the pilgrims, holy love and salvation.  There are also novel takes on standard ideas such as the “Venus music” which “breaks free from the constraints of traditional word-setting.”

            Lohengrin was begun by Wagner in 1845 and completed in 1848; it was first performed in 1850 and is seen by the author in the Oxford text to be an advancement in Wagnerian style.  The work is somewhat traditional for its use of recitative as well as “minster, organ, fanfares and bridal processions.”  It is from this opera that the traditional bridal chorus comes.  Wagner capitalizes on what has now become mainstream in German Romantic opera; a knight, the need of a virtuous woman and some kind of hidden identity which cannot be discovered and is “the forbidden question.” All of which are aspects that we have seen from previous works for the stage.

            Though successful and masterful works for the stage, these operas do not represent the Wagner that contributed so fruitfully to the modern music landscape, that Wagner would come in the form of the composer of The Ring Cycle (to be discussed next). Millington writes that: “The technique of the leitmotif is neither prominent nor pervasive in these three Romantic operas.” The leitmotif being one of the hallmarks of Wagnerian composition and an expected aspect of his mature style.