When Richard Wagner died on 23 February 1883, his first complete opera Die Feen (The Fairies) had still not been performed in public. That premier had to wait until 29 June 1888, yet regardless, the work never established itself in

In 1879, the French composer Emmanuel Chabrier requested leave from his job at the French Ministry of the Interior so that he could travel to Munich, which was the only place in the world to hear Wagner’s opera Tristan und

Der Kobold (The Goblin), Op. 3, Act I: Vogellied (Bird Song) From WAGNER, S.: Lieder (2010) Released by Marco Polo Wagner: Der Kobold (The Goblin), Op. 3, Act I: Vogellied (Bird Song)Best known for his operas, several of which are

“Minors of the Majors” invites you to discover compositions by the great classical composers that for one reason or another have not reached the musical mainstream. Please enjoy, and keep listening!

We associate Wagner with gloriously large orchestral sounds, with complex stories, and magnificent singing. It’s interesting, however, when we hear Wagner’s operatic writing from the viewpoint of the keyboard and in this recording by French pianist Wilhem Latchoumia, he shapes

Richard Wagner was never shy to freely give his advice and opinions on god, himself and the world, no matter if you wanted them or not. On occasion, he personally swung into action and physically defended his convictions. In 1848,

Cosima Liszt was the illegitimate daughter of the Hungarian pianist and composer Franz Liszt and his mistress, Marie, Comtesse d’Agoult. In order to continue his independent lifestyle — he also forbade contact between mother and daughters — Franz placed Cosima,

In many of Wagner’s theoretical writings, such as “Die Kunst und die Religion” (Art and Religion – 1849), “Das Kunstwerk der Zukunft” (The Artwork of the Future – 1849) and “Oper und Drama” (Opera and Drama – 1852), the concept