Queen Victoria, [102]
R
Rameau, [170]
Recitative, early, [168] et seq.
"Recollections of Spontini," [86]
Reissiger, [45], [51]
"Rheingold, das," see "[Das Rheingold]"
Richter, Hans, [125], [130-132], [134], [144]
"Rienzi," [221] et seq.;
Adriano, air of, [232];
art-theories in, [52], [172], [176], [223], [225], [227], [228];
Berlin performances, [70], [71];
character of hero, [230];
completed, [44];
conception of, [223], [224];
divided into two parts, [52];
first performances to 1882, [221], [222];
first mentioned by Wagner, [31];
libretto begun, [224];
libretto, nature of, [228], [229], [230];
materials of, [176], [225], [226];
music begun, [224];
music, nature of, [228], [229];
music, Rienzi's prayer, [231];
offered to Dresden, [44];
opera instead of music-drama, why, [225] et seq.;
performance of, suggestions as to, [47];
prayer in, [230], [231];
preparations to produce, [47], [48], [51];
produced at Dresden, [51];
Berlin, [52];
Schuré's criticism of, [232]
"Ring des Nibelungen, der," see "[Der Ring]"
Rinuccini, Ottavio, [168]
Rochlitz, [11]
Roeckel, August, [53], [64]
Rossini, [89]
Royer, Alphonse, [114], [116]
Rudolf of Hapsburg, [332]
"Rule Britannia" overture, [30], [31]
S
Sachs, Hans, [333], [336]
Saemund the Wise, [373-375]
Sainton, Prosper, [98]
"Sarazener, die," see "[Die Sarazener]"
Saxe, Marie, [113]
Scharfenberg, Albrecht von, "Der Jüngere Titurel," [272]
Schladebach, [67], [68]
Schlesinger, [38]
Schnorr, Ludwig, [125], [127], [128]
Schopenhauer, A., [108], [184]
Schroeder-Devrient, Wilhelmina, [18], [48], [54], [65]
Schumann, Robert, [68]
Seidl, Anton, [145]
Semper, Gottfried, [126]
Siegfried, date of his death, [370];
character as conceived by Wagner, [403];
German hero, [369]
"Siegfried," [402] et seq.;
see also "[Der Ring des Nibelungen]";
bird's voice a soprano, [407];
book written, [93];
conception of, [93];
conception of hero, [404];
Erda, [408];
first performances, [360];
Forest Bird, voice of, [407];
Forest Bird and the "Lay of Fafner," [376];
free hero, [405];
Mime, origin of name, [403];
Mime, Regin compared with, [403];
Mime's betrayal of himself, Act II., [408];
music, [439],
see also [Leading Motives];
music, when written, [365];
original casts, [360], [361];
originality of Act II., [408];
penetration of the fire, legend of, [409];
produced at Bayreuth, [141];
question scene in Act I., origin of, [405];
Siegfried's nature and character, [403], [404];
story of, [405] et seq.;
sword, power and name of, [409];
"Vafthrudnersmal," [405];
"Waldweben," [407];
Wotan's plan in, [405], [408]
"Siegfried's Death," [367]
"Siegfried Idyl," [134]
Smolian, Arthur, [265]
Snorre Sturleson, [373]
Spontini, [60], [68]
Standthartner, Dr., [149]
"State and Religion," [124]
Symphony in C, [11], [12], [151];
analysis of, [482] et seq.;
history of, [481]
T
"Tannhäuser," [250] et seq.;
additions to story by Wagner, [258];
Biterolf, [261];
book written, [50], [252];
characterisation in, [268];
characters historical, [260];
completed, [62];
conception of, [50], [252];
contest of song, origin of idea, [256];
Elizabeth, character of, [257], [261];
essay on performance of, [253];
essence of, Wagner's words on, [269];
ethics of the drama, [261], [262];
failure of, [65];
first performances, [250], [251];
good and evil principles, [261-263];
good and evil principles, music of, [265];
grotto of Venus, [258];
Heinrich of Ofterdingen, identified with Tannhäuser, [256], [259];
Hermann the Landgrave, [256];
Jockey Club of Paris and, [114], [115];
legend of, [254], [255];
leitmotive, absence of, [265];
letter to Carl Galliard on, [65];
Lord Lytton's, [264];
man, a drama for, [263];
misunderstood, [65], [66];
music, analysed, [264] et seq.;
music, finished, [252];
music, nature of, [264] et seq.;
music, principal ideas, see [Leading Motives];
mythology, Roman and Teutonic, [257], [258];
narrative of Tannhäuser, [263];
original casts, [250], [251];
original ideas in, [254];
overture in London, [101];
Paris version, nature of, [253];
Paris version, origin of, [114], [115], [252], [253];
praise of Venus, [259];
preparations for production, [64];
produced at: Dresden, [65];
Munich, [130], [131];
Paris, [112] et seq.;
Weimar, [81];
Zurich, [97];
provisional title, [252];
Reimar, [260];
relations to "Tristan und Isolde," [253], [269];
"Sängerkrieg," [254];
score completed, [252];
Smolian, Arthur, pamphlet on music, [265];
sources of, [254] et seq.;
Tannhäuser, character of, [258], [259], [261];
"Tannhäuser Lied," [254];
transition period, belongs to, [213], [252];
Venus, [257], [258], [259];
"Venusberg, Romantic Opera," [252];
"Volksbuch," [254];
Wartburg Castle, [255];
"Wartburgkrieg," [256], [259];
Wogelweide, Walther von der, [256], [260];
Wolfram, [255], [256], [260];
woman, the saving grace of, [262], [263]
Tausig, Carl, [109], [110], [137]
Text of Wagner Dramas, importance of knowing, [219]
Thomas, Theodore, [139]
Tichatschek, [48], [51], [131]
"Tristan und Isolde," study of, [293] et seq.;
Act I., [302];
Act II., [305];
Act III., [308];
abandoned, as impossible, [118];
accepted at Vienna, [118];
art-theories in, [316];
Arthurian legends, now Gallicised, [296];
begun, [109];
book written, [295];
Celtic origin of story, [295] et seq.;
conception of, [106], [107], [108], [294];
day and night, riddles of, [306-308];
death, basic thought of drama, [304], [306], [311], [312];
death, idea in Isolde's mind, [302], [303];
death, yearning for, [311], [312];
emotions, treatment of, [316] et seq.;
Fate, workings of, in drama, [311];
finished, [110];
first act written, [109];
first performances, [293];
Gottfried's version, [297];
Isolt of the White Hand, [299], [300], [314];
King Mark, his "sermon," [313], [314];
legend, fundamental idea of, [301];
leitmotiv system in, [315], [316];
love of Tristan and Isolde not caused by the magic drink, [301], [310];
"Liebestod," musical germs of, [324], [327];
Liszt on, [107];
metaphysics in, [312];
musical plan of drama, [314];
music, [315] et seq.;
see also [Leading Motives];
music, general plan of, [318] et seq.;
music, third act, [314], [320];
music, when written, [295];
narrative of Isolde, [303];
organic union of arts in, [312], [317], [318];
original casts, [293];
"O sink' hernieder," [307], [324];
pessimism in Act II., [310], [313];
potion, office of, [301], [304], [305], [310];
prelude, [321];
produced at Munich, [127];
production, difficulties of, [111], [125];
pronounced impossible, [122];
Schopenhauer's influence in, [312], [313];
second act sketched, [110];
sources of, [108], [295] et seq.;
sources of, Wagner's treatment, [300] et seq.;
story, completions of, [299], [300], [314];
story, Gottfried's, [297];
story, oldest versions of, [297];
story, origin of, [295] et seq.;
story, Wagner's version, [300] et seq.;
text, character of, [317];
torch in Act II., [305];
wound, Tristan's, meaning of, [307], [308]
Troubadours, influence on German song, [330]
Troyes, Chrétien de, [297]
"Two Grenadiers," [42]
U
"Ueber das Dirigen," [58], [134]
Unger, George, [141]