User:Dogbertd/sandbox
See also Sandbox - Wiki discriminates uc and lc.
quoteboxes
[edit]Quote Box 2
"My Dear, Dear, my own unique Girl! Already more than 24 hours apart from you after I have so often treasured every minute! What will come of this? I am lost in my misery and tears, and I can find joy in nothing, nothing whatever! You have become too dear to me, I am sure of that, you dear and lovely child! How can I become accustomed so soon to our separation? How can I bear your absence? You have become part of me, and without you I feel in all my limbs as if a part of me were missing. Alas, if you felt only half my longing, then you too would be filled with love and memories. I still wept after you had gone."
Letter from Richard Wagner to Minna Planer May 6th, 1835. [1]
"I came to realise more and more that my friend Wagner was not happy in his married life. I had felt the winter before that his wife was little suited to him and that she was not capable of raising him above the many petty and sordid cares and conditions of life, nor of lessening them with greatness of soul and feminine charm. This man, so utterly dominated by his daemon, should always have a high-minded, understanding woman by his side - a wife who would have known how to mediate between his genius and the world, by understanding that these are always hostile one to the other. Frau Wagner never grasped this. She wanted to mediate by demanding from the genius concessions to the world which he could not and should not make. From her inability to grasp the essence of genius and its relations to the world, there arose constant friction in their daily life. This was augmented by their not having any children - usually the one reconciling and softening element in marriage. Nevertheless Frau Wagner was a good woman, and in the eyes of the world decidedly the better and the more unhappy of the two."
Malwida von Meysenbug, 1937.[2]
rquotebox
[edit]| “ | Beware! Evil tricks threaten us; if the German people and kingdom should one day decay,
under a false, foreign rule,
soon no prince would understand his people;
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” |
| — Hans Sachs' final speech from Act 3 of Die Meistersinger | ||
Quotation box
[edit]"... on Good Friday I awoke to find the sun shining brightly for the first time in this house: the little garden was radiant with green, the birds sang, and at last I could sit on the roof and enjoy the long-yearned-for peace with its message of promise. Full of this sentiment, I suddenly remembered that the day was Good Friday, and I called to mind the significance this omen had already once assumed for me when I was reading Wolfram's Parzival. Since the sojourn in Marienbad [in the summer of 1845], where I had conceived Die Meistersinger and Lohengrin, I had never occupied myself again with that poem; now its noble possibilities struck me with overwhelming force, and out of my thoughts about Good Friday I rapidly conceived a whole drama, of which I made a rough sketch with a few dashes of the pen, dividing the whole into three acts." [3]
A different type of quotebox
[edit]| “ | You hear so much about the old movie moguls and the impersonal factories where there is no freedom. MGM was a wonderful place where decisions were made on my behalf by my superiors. What's wrong with that? | ” |
| — James Stewart, The Leading Men of MGM[4] | ||
"in Flucht geschlagen, wähnt er zu jagen; hört nicht sein eigen Schmerzgekreisch,
wenn er sich wühlt ins eig'ne Fleisch, wähnt Lust sich zu erzeigen!""driven into flight he believes he is hunting, and does not hear his own cry of pain:
when he tears into his own flesh, he imagines he is giving himself pleasure!"
Wikitable
[edit]| Conductor | Orchestra | Year | Label | Stereo/Mono | Parsifal | Kundry | Gurnemanz | Amfortas | Klingsor |
|---|---|---|---|---|---|---|---|---|---|
| Hans Knappertsbusch | Bayreuth Festival Orchestra | 1951 | Teldec | Mono | Wolfgang Windgassen | Martha Mödl | Ludwig Weber | George London | Hermann Uhde |
| Hans Knappertsbusch | Bayreuth Festival Orchestra | 1962 | Philips | Stereo | Jess Thomas | Irene Dalis | Hans Hotter | George London | Gustav Niedlinger |
| Pierre Boulez | Bayreuth Festival Orchestra | 1970 | Deutsche Grammophon | Stereo | James King | Dame Gwyneth Jones | Franz Crass | Thomas Stewart | Sir Donald McIntyre |
big list
[edit]| Conductor | Orchestra | Year | Label | Stereo/Mono | Live/Studio |
|---|---|---|---|---|---|
| Wilhelm Furtwängler | La Scala Opera Orchestra | 1950 | Music & Arts, Opera D'Oro, Gebhardt, Archipel | Mono | Live |
bodies
[edit]| strings | woodwinds | brass | percussion |
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| Gods[5] | Mortals | Valkyries | Rhinemaidens, Giants & Nibelungs | Other Characters |
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Neidings
Gibichungs |
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Rheinmaidens
Giants Nibelungs |
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Notes
[edit]- ^ Burk, John N, (1950). "Letters of Richard Wagner - The Burrell Collection. " page 25.
- ^ Spencer, Stewart (2000) "Wagner Remembered" Faber & Faber Ltd. page 121.
- ^ "Wagner, Richard "Mein Leben" vol II at Project Gutenberg". Retrieved October 8 2007.
{{cite web}}: Check date values in:|accessdate=(help) - ^ Wayne 2004, p. 447.
- ^ John Weinstock, Professor (2007). "The Wagner Experience – Immortals Family Tree". Characters and Relationships. The University of Texas at Austin. Retrieved 28 October 2007.
big box
[edit]| Operas | |
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| Non-Operatic Music | |
| Writings | |
| Related articles | |
| The Bayreuth Festival | |
