Red & Lion House
Nicolaischule
Minna Planer
Frauenkirche
German National Assembly at Paulskirche
Mathilde Wesendonck
Meistersinger´s Eva crowns Hans Sachs
Tribschen
Conducting Siegfried Idyll
Festspielhaus
Parsifal´s magic garden
Wagner dies in Venice; his body is brought back by gondola and train to Bayreuth, where he is buried in a grave behind his house, Wahnfried. His widow, Cosima, takes over as director of the Bayreuth Festival, committed to a faithful execution of her husband’s wishes, as she understands them, but ossifying the festival in the process.

The Bayreuth Festival reopens after the First World War. Wagner’s son, Siegfried, attempts (not completely successfully) to keep a distance from the proto-fascist nationalists encircling Bayreuth.
Siegfried and Cosima
Cosima dies at the grand old age of 92. Devastated by her death, and exhausted by personal and political tensions on the Green Hill, Siegfried suffers a heart attack, from which he never recovers. His production of Tannhäuser is already on the boards, but he never sees it.
Tannhauser 1930
Hitler’s rise to power initiates a period of generous state funding for the Bayreuth Festival. Winifred Wagner, Siegfried’s English-born widow, is on intimate terms with Hitler. The dictator attends the Bayreuth Festival each year from 1933 to 1939, but the Nazis do not interfere consistently with artistic policy as they do elsewhere. A petition is mounted against the replacement of the venerable production of Parsifal ‘upon which the Master’s eyes had once rested’. Hitler, however, is in favour of a new production, but the result, by the respected Alfred Roller, is not a success.
At Wahnfried, Winifred, sons, Hitler
Wagner’s grandsons, Wieland and Wolfgang, reopen the festival after the Second World War. Wieland’s radical stagings set new standards in European opera production. The first festival opens ambitiously with new productions of Parsifal, Die Meistersinger and the Ring; even so, Wolfgang very nearly succeeds in making the books balance.
New Bayreuth, Siegfried, Brunnhilde on the mountain top
The centenary of the first Ring is marked with a trailblazing production by the Frenchman Patrice Chéreau that once again changes the face of Wagner production in Europe. With Pierre Boulez on the rostrum, the production essays an audacious interplay of the work’s mythical and contemporary planes, setting the action against the socio-political backdrop of the Ring’s first century, roughly 1876 to 1976. Equally radical is the immediate and thrilling theatricality Chéreau brings to the acting style.
Wolfgang Wagner dies, having been at the helm for over half a century. His mantle falls, after much internecine strife, on his daughter Katharina and her half-sister Eva. Following controversial productions of Der fliegende Holländer in Würzburg and Lohengrin in Budapest, Katharina proves herself triumphantly with her first assignment at Bayreuth: a Meistersinger that grapples with the troubling ideology that underpins the work, as well as its consequent appropriation by the Nazis.
Eva and Katharina
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