Wagner - Is There a Problem in Wagnerism?

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Ralise: I started out really averse to the entire sound world. In connection with hitler us purely a question of the sound. It wasn't until i was in my twenties that i began really seriously listening to wagner as music. But always with weariness, always witha consciousness of how this extraordinary figure, a who really had it in him,. i think he could have become a cultural figure on the scale of esculus, dante, shakespeare. There's universalism. There is this profound psychological understanding, coupled with is flare for painting on the huge canvas and manipulating mythic motifs. And so it shadows his achievements. He had the potential to become...

To Alex Ross, good music critics must be well-rounded and have command of neighboring cultural areas. “When you're writing about opera, you're writing about literature as well as music, you're writing about staging, theater ideas, as well as music,” says the veteran music journalist and staff writer for The New Yorker. His most recent book, Wagnerism: Art and Politics in the Shadow of Music, explores the complicated legacy of Wagner, as well as how music shapes and is shaped by its cultural context.

Alex joined Tyler to discuss the book, what gets lost in the training of modern opera singers, the effect of recording technology on orchestras, why he doesn’t have “guilty pleasures,” how we should approach Wagner today, the irony behind most uses of “Ride of the Valkyries” in cinema, his favorite Orson Welles film, his predictions for concert attendance after COVID-19, why artistic life in Europe will likely recover faster than in America, Rothko’s influence on composer Morton Feldman, his contender for the greatest pop album ever made, how his Harvard dissertation on James Joyce prepared him for a career writing about music, and more.

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Recorded August 20th, 2020 Other ways to connect

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