The Cambridge Companion to Wagner

• Frontmatter
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• pp. i-xxxviii

PART I - Biographical and historical contexts

• 1 - Wagner lives: issues in autobiography by John Deathridge
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• pp. 1-17

• 2 - Meister Richard's apprenticeship: the early operas (1833–1840) by Thomas S. Grey
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• pp. 18-46

• 3 - To the Dresden barricades: the genesis of Wagner's political ideas by Mitchell Cohen
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• pp. 47-64

PART II - Opera, music, drama

• 4 - The “Romantic operas” and the turn to myth by Stewart Spencer
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• pp. 65-73

• 5 - Der Ring des Nibelungen: conception and interpretation by Barry Millington
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• pp. 74-84

• 6 - Leitmotif, temporality, and musical design in the Ring by Thomas S. Grey
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• pp. 85-114

• 7 - Tristan und Isolde: essence and appearance by John Daverio
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• pp. 115-133

• 8 - Performing Germany in Wagner's Die Meistersinger von Nürnberg by Stephen McClatchie
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• pp. 134-150

• 9 - Parsifal: redemption and Kunstreligion by Glenn Stanley
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• pp. 151-176

PART III - Ideas and ideology in the Gesamtkunstwerk

• 10 - The urge to communicate: the prose writings as theory and practice by James Treadwell
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• pp. 177-191

• 11 - Critique as passion and polemic: Nietzsche and Wagner by Dieter Borchmeyer
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• pp. 192-202

• 12 - The Jewish question by Thomas S. Grey
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• pp. 203-218

PART IV - After Wagner: influence and interpretation

• 13 - “Wagnerism”: responses to Wagner in music and the arts by Annegret Fauser
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• pp. 219-234

• 14 - Wagner and the Third Reich: myths and realities by Pamela M. Potter
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• pp. 235-245

• 15 - Wagner on stage: aesthetic, dramaturgical, and social considerations by Mike Ashman
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• pp. 246-275

• 16 - Criticism and analysis: current perspectives by Arnold Whittall
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• pp. 276-289

• Notes
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• pp. 290-327

• Select bibliography
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• pp. 328-337

• Index
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• pp. 338-346