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Richard Wagner

Richard Wagner

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Near balanceFormula-derived score

Richard Wagner (1813–1883), German composer. Documented harms: Das Judenthum in der Musik 1850 and 1869 signed reprint, named attacks on Meyerbeer/Mendelssohn, Ludwig’s fiscal drain, Bayreuth cult and Parsifal monopoly. Nazi Bayreuth is downstream (1933, Winifred), not his act.

Music drama as total artworkGerman-art nationalism in later prosepublished antisemitism in Das Judenthum in der Musik as his own text

Impact

Not rated yet: the verified records linked to this person, without a numeric impact.

Editorial assessment (context, not the score)

The page is not a later party badge and not a washed genius. The heaviest documented costs in the public file are Das Judenthum in der Musik (1850 and the 1869 signed reprint), named ethnicised attacks on colleagues, Ludwig’s fiscal drain, Bayreuth’s Master-cult and Parsifal monopoly, and nationalist prose of 1870–71. Nazi Bayreuth is real and downstream: Winifred’s and the regime’s, after 1883. The offsets are real and dated: 1849 as civic revolt, 1851 theory, 1864 enabling of premieres, 1876 house and Ring as heard objects, later scores and houses, 1951 reopening. He did not file 1933 or 1951. Family successors, ministers, and librarians did that adjacent work. Confidence is high on those pages, medium on any unique 1933 coefficient from 1850 sentences.

Indicators affected

Indicators this person’s verified facts reach. No score contribution is assigned; the observed state is the indicator’s own reading.

Accountability & contradictions

Claims against the record, the type of responsibility, and what is disputed.

Claimed

What happened

Responsibility

What could change this assessment

  • 8 linked facts have no assessed welfare direction yet.
  • Lifetime coverage has not been assessed: the record reflects stored facts only (1839–1882).

Causal path

Person → Fact → Driver → Indicator. Select a path to inspect its factors; the full network opens on demand.

  1. PersonRichard Wagner
  2. FactParsifal’s 1882 premiere still puts a new public score into the world even under a stage monopoly
  3. DriverDigital Learning Access
  1. PersonRichard Wagner
  2. FactParsifal premieres as a Bühnenweihfestspiel reserved to Bayreuth, a stage monopoly
  3. DriverIncome Inequality
  1. PersonRichard Wagner
  2. FactMein Leben, printed for a private circle, publicises a self-myth as if it were a register
  3. DriverPersonal-Data Protection

Timeline

The most relevant dated facts, newest first.

  1. 26 July 1882 · Digital Learning Access

    Parsifal’s 1882 premiere still puts a new public score into the world even under a stage monopoly

  2. 26 July 1882 · Income Inequality

    Parsifal premieres as a Bühnenweihfestspiel reserved to Bayreuth, a stage monopoly

  3. 1 January 1880 · Personal-Data Protection

    Mein Leben, printed for a private circle, publicises a self-myth as if it were a register

  4. 17 August 1876 · Social Cohesion

    The first complete Ring cycle is heard at Bayreuth in August 1876

  5. 17 August 1876 · Industrial-Policy Activism

    The Ring as a family-controlled performing property concentrates later repertory rents on Bayreuth and heirs

  6. 13 August 1876 · Digital Learning Access

    The Festspielhaus opens in 1876 as a purpose-built public music-drama house

Evidence & methodology

How the record is sourced and how the score is derived.

30 of 30 linked facts verified, drawing on 15 distinct sources (1839–1882).

Sources include Bayreuther Festspiele, Richard-Wagner-Museum Bayreuth, Cambridge University Press, Encyclopaedia Britannica, Stanford University, Bayerische Staatsbibliothek, Project Gutenberg, Sächsische Landesbibliothek — Staats- und Universitätsbibliothek Dresden.

Sources (showing 8 of 15)

  1. 1.Bayreuth Festival — official siteBayreuther Festspiele
  2. 2.Britannica — Das Judentum in der MusikEncyclopaedia Britannica
  3. 3.Britannica — Richard WagnerEncyclopaedia Britannica
  4. 4.SLUB DresdenSächsische Landesbibliothek — Staats- und Universitätsbibliothek Dresden
  5. 5.Richard Wagner Museum Bayreuth (Wahnfried)Richard-Wagner-Museum Bayreuth
  6. 6.Britannica — Richard WagnerEncyclopaedia Britannica
  7. 7.Cambridge Companion to WagnerCambridge University Press
  8. 8.Stanford Opera — Wagner libretti and related textsStanford University

The score is formula-derived (Factrail formula v1, version 1.0.0), not an editorial verdict. Read the methodology.

By the Factrail desk · Method: how we source and score · Last reviewed · Sources: 15

Expert analysis

An excerpt; the full analysis opens on request.

The first fact about Richard Wagner in a public catalog is a dated essay and a dated festival, not a later dictator’s taste. Das Judenthum in der Musik was printed 3 and 9 September 1850 in the Neue Zeitschrift für Musik and reprinted as a signed pamphlet in 1869. Britannica’s article (https://www.britannica.com/topic/Das-Judentum-in-der-Musik (opens in a new tab)) and the public-domain English at Internet Archive (https://archive.org/details/judaismmusic00wagnuoft (opens in a new tab)) independently present that prose. It is antisemitic. It names Meyerbeer and Mendelssohn. It is his act. They are not Mein Kampf, and they are not nothing. Ludwig II’s 4 May 1864 summons (Britannica https://www.britannica.com/biography/Richard-Wagner-German-composer (opens in a new tab); Bavarian digital collections https://www.digitale-sammlungen.de/ (opens in a new tab)) enabled Tristan (10 June 1865), Meistersinger (21 June 1868), and Bayreuth while straining a treasury. The Festspielhaus and first Ring (13–17 August 1876) are on the Bayreuth Festival’s official history (https://www.bayreuther-festspiele.de/en/ (opens in a new tab)) as pilgrimage and as a new public house — split cult from access. Parsifal (26 July 1882) is a heard score and a stage monopoly. 1861 Paris Tannhäuser and 1870–71 Kaiser-adjacent prose polarised art as national brief. Meistersinger’s closing German-art address is 1868 libretto (Stanford https://opera.stanford.edu/Wagner/ (opens in a new tab)), not a 1933 parade stored as 1868. Downstream, and dated as such: from 30 January 1933 Bayreuth under Winifred took National Socialist state patronage. He had been dead since 13 February 1883. Contribution is low and complex. The usable file of 1850/1869 is real; authorship of 1933 is not his. Cambridge Companion to Wagner (https://www.cambridge.org/core/books/cambridge-companion-to-wagner/ (opens in a new tab)) is a classroom file that includes this distinction. Offsets are URLs with later dates. SLUB Dresden (https://www.slub-dresden.de/en/ (opens in a new tab)) holds the 1843 post and 1849 revolt/warrant. Gutenberg (https://www.gutenberg.org/ebooks/author/372 (opens in a new tab)) carries Oper und Drama 1851. IMSLP (https://imslp.org/wiki/Category:Wagner,_Richard (opens in a new tab)) and the Library of Congress (https://www.loc.gov/ (opens in a new tab)) are score doors. The Met (https://www.metopera.org/ (opens in a new tab)) spread repertory beyond pilgrimage. Wahnfried’s museum (https://www.wagnermuseum.de/en/ (opens in a new tab)) opened the family house. 30 July 1951 New Bayreuth reopened a public festival after the postwar ban. What the score must not say: that 1850 is 1933; that 1933 unpaid 1850; that a leitmotif is a people; that 1849 is 1871; that Ludwig’s money is only a jewel or only a school; that Winifred’s guest list is a Ring chord. Complex contribution is the honest type. Confidence is high on print and premiere dates; medium on any unique coefficient from an 1850 sentence to a 1933 indicator. 1850 is not 1869. 1869 is not 1933. 1876 cult is not 1876 hearing. 1849 revolt is not 1849 exile. Hostile slogan and hagiography are both refused. Off-family padding — a health series nailed to Tristan without a medical file — is refused. Keep 1850, 1869, 1876, 1882, 1933, and 1951 on separate dates. Later Loeb, UNESCO, and encyclopedia pages are evidence, not additional acts.

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