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The King, who was homosexual, expressed in his correspondence a passionate personal adoration for the composer, and Wagner in his responses had no scruples about counterfeiting a similar atmosphere. Listen out for Wagner’s elaborate use of leitmotifs – musical phrases associated with individual characters, places, ideas, or plot elements. He arranged for his pupil's Piano Sonata in B-flat major (which was consequently dedicated to him) to be published as Wagner's Op.

1. Wagner’s marriage to Minna was buckling under the pressure of their exile and dire finances, as well as his infidelity. He remained an adherent of Schopenhauer for the rest of his life.

One of Schopenhauer's doctrines was that music held a supreme role in the arts as a direct expression of the world's essence, namely, blind, impulsive will.

The composition took four years, much of which Wagner spent in Italy for health reasons. Commenting on the struggle to finish the building, Wagner remarked to Cosima: "Each stone is red with my blood and yours".

For the design of the Festspielhaus, Wagner appropriated some of the ideas of his former colleague, Gottfried Semper, which he had previously solicited for a proposed new opera house at Munich.

Wagner's sudden interest in Christianity at this period, which infuses Parsifal, was contemporary with his increasing alignment with German nationalism, and required on his part, and the part of his associates, "the rewriting of some recent Wagnerian history", so as to represent, for example, the Ring as a work reflecting Christian ideals.

Wagner noted that his rescue by Ludwig coincided with news of the death of his earlier mentor (but later supposed enemy) Giacomo Meyerbeer, and regretted that "this operatic master, who had done me so much harm, should not have lived to see this day."

After grave difficulties in rehearsal, Tristan und Isolde premiered at the National Theatre Munich on 10 June 1865, the first Wagner opera premiere in almost 15 years.

The young king, an ardent admirer of Wagner's operas, had the composer brought to Munich. Throughout this period (1861–64) Wagner sought to have Tristan und Isolde produced in Vienna. Wagner composed the Siegfried Idyll as a birthday present for his second wife, Cosima, and it was first performed by a small ensemble, on a staircase in their villa, on Christmas Day 1870.

Wagner's father Carl died of typhus six months after Richard's birth, after which Johanna began living with Carl's friend, the actor and playwright Ludwig Geyer. The question of performing his music in Israel is still highly contested. They would be sung through; every element of the music meticulously considered to complement the libretto, and vice versa.

The music, too, would be like nothing anyone had heard before.

Here Minna visited him for the last time: they parted irrevocably, though Wagner continued to give financial support to her while she lived in Dresden until her death in 1866.
In Biebrich, Wagner at last began work on Die Meistersinger von Nürnberg, his only mature comedy. Wagner also mixed with artistic circles in Dresden, including the composer Ferdinand Hiller and the architect Gottfried Semper.

Wagner's involvement in left-wing politics abruptly ended his welcome in Dresden.

After the disaster of Das Liebesverbot, he followed her to Königsberg where she helped him to get an engagement at the theatre. Wagner had to flee, first visiting Paris and then settling in Zürich. Wagnerism spread across Europe, like a virus, some said, infecting just about every art form, from poetry to painting to architecture. Wagner's first lessons in harmony were taken during 1828–31 with Christian Gottlieb Müller.

This contained his first public announcement of what was to become the Ring cycle:

I shall never write an Opera more. He spent many formative years in exile following his revolutionary action, developing theories about art and society that were as seismic in their impact as his music.

Richard Wagner’s Early Years

Richard Wagner hailed from Leipzig, Germany.

Operas would no longer be structured around one or two show-stopping arias, when the audience would leave off their private chatter to listen in awe to the diva of the hour.