Richard Wagner Richard Wagner (1813 ~ 1883) is regarded by many 【51】 "The Revolutionist of Opera, "who demolished all old forms, and who reconstructed the music drama 【52】 principles entirely his own. In the strictest 【53】 , this belief is not justified, for Wagner simply returned to the oldest version of the music drama. He found that the ideal construction of the opera in Florence had been to produce work in which the music, drama and interpretation should be 【54】 equal importance. Wagner studied the changes and abuses which Gluck had 【55】 correct, and found that the opera 【56】 of the nineteenth century had 【57】 back into many of the old customs, with the result, that there was no longer a complete 【58】 of the three fundamentals of opera. Wagner tells us in his autobiography that his early life was influenced by the dramas of Shakespear, the symphonies of Beethoven, and the operas of Von Weber. His first operas were constructed on the lines of the French grand opera. The first two were absolute failures, but with the 【59】 of "Rienzi" in 1842, Wagner was proclaimed the equal, if not the superior, 【60】 Bellini, Donizetti and Meyerbeer. In the writing of this work he had discovered the dramatic absurdities of the form, 【61】 in his next work, "The Flying Dutchman," he attempted his first important use of the "leit motif," or characteristic 【62】 , for his different personages , and also used these themes, in anticipation of the advent of his characters, in a manner he later described as" making the audience a part of the being. 【63】 his way to Dresden to conduct" Rienzi," Wagner visited the Wartburg Castle, and there he became familiar 【64】 the legendary stories which he used in all his later works. "Tannhauser" gives an actual description of the Minnesinger Knights, who inspired Wagner 【65】 Teutonic versions of "The Ring of the Nibelungs", "Lohengrin" ,"Tristan and Isolde" and "Parsifal".

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Richard Wagner Richard Wagner (1813 ~ 1883) is regarded by many 【51】 "The Revolutionist of Opera, "who demolished all old forms, and who reconstructed the music drama 【52】 principles entirely his own. In the strictest 【53】 , this belief is not justified, for Wagner simply returned to the oldest version of the music drama. He found that the ideal construction of the opera in Florence had been to produce work in which the music, drama and interpretation should be 【54】 equal importance. Wagner studied the changes and abuses which Gluck had 【55】 correct, and found that the opera 【56】 of the nineteenth century had 【57】 back into many of the old customs, with the result, that there was no longer a complete 【58】 of the three fundamentals of opera. Wagner tells us in his autobiography that his early life was influenced by the dramas of Shakespear, the symphonies of Beethoven, and the operas of Von Weber. His first operas were constructed on the lines of the French grand opera. The first two were absolute failures, but with the 【59】 of "Rienzi" in 1842, Wagner was proclaimed the equal, if not the superior, 【60】 Bellini, Donizetti and Meyerbeer. In the writing of this work he had discovered the dramatic absurdities of the form, 【61】 in his next work, "The Flying Dutchman," he attempted his first important use of the "leit motif," or characteristic 【62】 , for his different personages , and also used these themes, in anticipation of the advent of his characters, in a manner he later described as" making the audience a part of the being. 【63】 his way to Dresden to conduct" Rienzi," Wagner visited the Wartburg Castle, and there he became familiar 【64】 the legendary stories which he used in all his later works. "Tannhauser" gives an actual description of the Minnesinger Knights, who inspired Wagner 【65】 Teutonic versions of "The Ring of the Nibelungs", "Lohengrin" ,"Tristan and Isolde" and "Parsifal".
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本题关键词:V－W变异,W-S染色,V-W变异,O/W型乳剂,W/O型乳剂,O/W型乳化剂,W/O型乳化剂,W·格罗皮乌斯;