Opera and Drama
Oper und Drama — Wagner's 1851 three-part theoretical magnum opus on the music-drama
Tradition: German Romanticism / Wagnerian music-drama theory
Wagner's 1851 theoretical magnum opus — music as means, drama as end
Wagner's 1851 treatise 'Oper und Drama' was written in Zurich exile and submitted for publication just as Wagner began conceiving the Ring (the prose sketch 'Die Nibelungenmythus' is contemporaneous). The treatise is the most systematic theoretical work of Wagner's career, in three substantial parts. Part I — 'Opera and the Nature of Music' — analyses the historical development of opera from Gluck and Mozart through Rossini to Meyerbeer and identifies the central problem: opera has subordinated drama to music, making music the end rather than the means. Part II — 'The Stage-Play and Dramatic Poetic Art' — argues that genuine drama requires mythological material (history is contingent and political; myth is necessary and human), and that the proper subject of music-drama is therefore myth treated by the poet as living substance. Part III — 'Poetry and Music in the Drama of the Future' — sets out the music-dramatic synthesis: alliterative verse (Stabreim) carrying psychological-emotional meaning through sound; orchestral motifs ('melodic moments') functioning as 'thought-bearing remembrances'; the orchestra as the bearer of inner-emotional content the words cannot directly express. The treatise contains the first systematic theory of the leitmotif and the canonical statement 'the error in the art-genre of Opera has consisted in this, that a Means of expression (Music) has been made the end, while the End of expression (the Drama) has been made a means.' The Ring cycle (1848-74) was conceived and composed in direct application of the theoretical principles set out here.
Author
Editions cited
- Oper und Drama (Weber, Leipzig, 1852, 3 vols)
- Gesammelte Schriften und Dichtungen (Leipzig, Fritzsch, 1871-83), vols. 3-4
- English trans. William Ashton Ellis, Wagner's Prose Works (Kegan Paul, 1892-99), vol. 2: Opera and Drama
- Modern critical scholarship: Carl Dahlhaus, Wagner's Aesthetic Conception (in Wagner's Music Dramas, Cambridge, 1979); Bryan Magee, The Tristan Chord (Metropolitan, 2001)
School Embodiments
Defining Wagnerian-Romantic theoretical statement on the music-drama.
"Music is a Woman; the procreative seed must come from the Poet, the Man." (Oper und Drama, part III)
Aestheticist re-grounding of opera as the highest of the arts.
"The error in the art-genre of Opera has consisted in this, that a Means of expression has been made the end." (Oper und Drama, part I)
Idealist subordination of musical means to dramatic-poetic end.
"The Drama is the highest conceivable form of art." (Oper und Drama, part II)
Classical-Greek tragic theatre as paradigm for the music-drama.
"From myth alone can the great drama draw its substance." (Oper und Drama, part II)
Music-drama as temporal-processual unfolding of dramatic motif.
"The musical motive grows organically with the drama." (Oper und Drama, part III)
Myth as the proper carrier of metaphysical content in music-drama.
"Myth is the poet's ideal stuff." (Oper und Drama, part II)
Internal Tensions
The theoretical charter of the Ring and the foundation of every later Wagnerian music-drama. Read by Adorno as Wagner's most authentic theoretical statement (before the late-1870s Schopenhauerian-Christian turn); by Carl Dahlhaus as the principal source for any rigorous theory of nineteenth-century music-drama; by Bernard Shaw as the philosophical groundwork that made the Ring intelligible.
I. Time
1851. Composed in Zurich exile, contemporary with the prose sketch of the Ring cycle ('Die Nibelungenmythus', also 1851).
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II. Space
Zurich — the Asyl (Wesendonck refuge) was still in the future; Wagner was renting modest quarters with his first wife Minna.
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III. Matter
Three-part theoretical treatise (~600 pages in Ellis's translation). Form is systematic-historical: each part begins with a historical survey, identifies a critical problem, and proposes a constructive solution.
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IV. Observer
Wagner as theorist of his own emerging dramaturgical practice. The treatise is at once retrospective (analysing why his early operas had failed) and prospective (laying the theoretical groundwork for the Ring).
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V. Energy
Polemical-theoretical energies of the 1849-51 reform programme. The treatise's polemical sharpness — especially against Meyerbeer — became notorious.
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VI. Information
Densely argued three-part prose. The treatise is Wagner's longest theoretical work and the most systematic statement of music-dramatic theory in the nineteenth century.
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How Opera and Drama resolves each dilemma
32 resolved positions across 4 dimensions, including 13 distinctive where the majority of schools go the other way · 25 unaligned.
Each dimension is sorted so minority positions come first. Mainstream positions are folded into an expandable list.
Time · 9 dilemmas · 3 distinctive
Persistence, the future, and the direction of becoming.
3 mainstream positions
Matter · 7 dilemmas · 3 distinctive
What stuff is — fundamental, relational, or appearance.
4 mainstream positions
Observer · 37 dilemmas · 5 distinctive
Mind, agency, and the knower's relation to the known.