| Summary: | 碩士 === 輔仁大學 === 德國語文學系 === 93 === Richard Wagner (1813-1883) is considered one of the most important composers and poets in the European music history. Not only did Wagner compose music but created libretti for his own operas, which he called "music drama." Themes in his operas can be characterized by materials from the Middle Ages. "Tannhäuser" is one such example. The title of his opera "Tannhäuser und der Sängerkrieg auf der Wartburg" suggests two legends in its dramatic elements: one is the “Tannhäuser" legend and the other "der Sängerkrieg auf der Wartburg." Despite ambiguous relationship between these two legends, there in the opera exists tremendous theatrical tension. The Sinner Tannhäuser and his stories have become a very popular topic in the European art history since the 16th century. "Der Sngerkrieg auf der Wartburg " appeared in a ballad, which originated from the 13th century. C.T.L. Lucas, a Königberg scholar in Wagnerian study, concluded in an essay that the leading character in " Sängerkrieg" - Heinrich von Ofterdingen and the minnesinger Tannhäuser in the " Tannhäuser legend" were the same person. However, academia has not confirmed such statement. In Wagner's opera, Tannhäuser did not return to Venusberg after rejected by the Pope, which differs from the medieval Tannhäuserlied. In the medieval Tannhäuserlied, the idea of "rescue" or "release" never did surface, which however Wagner borrowed to be the main theme connecting all the theatrical elements in his opera "Tannhäuser." At the end of the opera, Tannhäuser is redeemed. The redemption of Tannhäuser can only be achieved through Elizabeth's true love for him, which is made by way of Elizabeth's sacrifice.
Wagner embodied his artistic rebellion by depicting Tannhäuser as the rebel against the well established social systems. As an artist and musician, Wagner intended to give revolution to the long existing German romanticism. In “Tannhäuser”, Wagner critiqued his contemporaries. The minnesingers in the opera symbolize the conservative society. Wagner was never content with the opera. After the Dresden premiere in 1945, Wagner revised the opera more than several times. Today most well-known and seen most frequently in opera houses are the two versions: the "Dresdener-Fassung" (from 1847) and the "Pariser-Fassung" (from 1861). A few weeks before he passed away, Wagner told his wife Cosima that he still owes the world a "Tannhäuser."
|
|---|
