Sorry folks: I missed the 50th anniversary of Peter Lorre’s death (23rd March, 1964).
I feel a particular closeness to this great character-actor, because he was one of the film stars that my dad (like many people of his generation) did impersonations of (the others, in my Dad’s case, being Sydney Greenstreet, Humphrey Bogart, Edward G. Robinson, James Cagney and Walter Brennan):
Here’s Lorre in a typical role
Here’s his best ‘serious’ performance in Germany before he fled fascism for the US and ended up in Hollywood::
…and my personal favourite:
Finally: the ultimate accolade:
Above: Crimean referendum. Below: Austria 1938:
NB: the big, central circle was for “yes” votes
I was not the only, or the first, observer to notice the remarkable similarities between the strategy, tactics and justifications use by Putin in his his invasion of the Crimea and those used by Hitler in the Sudetenland in October 1938 - Hillary Clinton noted it as well. The comparison annoyed some of Putin’s sub-Stalinist apologists (including some who, against all the evidence, protest that they’re not that at all), and produced some sneering references to “Godwin’s Law” in the more worldly-wise sections of the bourgeois media.
What the wiseacres seemed not to notice was that nobody claims that Putin nurtures Hitlerian plans for world domination: just that his methods in Crimea bear a remarkable similarity to Hitler’s land-grabs in defence of “German-speaking peoples” and to restore historic borders before WW2. To point that out has nothing to do with “Godwin’s Law” and everything to do with having a grasp of history and an ability to draw appropriate analogies.
Today’s farcical referendum conjures up another highly apposite analogy: the Anschluss incorporation of Austria into Greater Germany, confirmed by a plebiscite in April 1938.
The description that follows is excerpted from the account given in Karl Dietrich Bracher’s The German Dictatorship (Penguin University Books, 1973):
The incorporation of Austria had not only remained the first and most popular objective of National Socialist expansionism … but … [was also] its most promising starting point. The Greater German-nationalist demands for self-determination lent effective support to the strategy. Versailles was a thing of the past; an effective defence by the West for this relic of a broken system was hardly likely…
The pseudo-legal seizure of power in Germany served as a model for the planned peaceful conquest … the German Army was working on plans for the invasion of Austria … On 11 March followed the ultimatum from Berlin; Seyss-Inquart [pro-Nazi Austrian Chancellor] after unmistakably clear telephone instructions from Goring in Berlin, opened the borders to the German troops on 12 March 1938, while the Austrian National Socialists took control of the regional governments …
So the coup worked … Amid enormous jubilation of a partly National Socialist, partly mislead population, Hitler moved into ‘his’ Linz and then on to Vienna, where church bells rang out and swastika banners were hoisted on church spires. And on 13 March he proclaimed the ‘reunification of the Ostmark [East March]‘ with the Reich. In tried and true fashion, there followed a Greater German plebiscite on 10 April 1938, which yielded the routine 99 per cent ‘yes’ votes.
From the BBC’s ‘Higher Bitesize‘ history site:
Hitler’s plans for Czechoslovakia
Sudetenland Invasion, October 1938
In 1938, Hitler turned his attention to the Sudeten area of Czechoslovakia.
The nation of Czechoslovakia had been created after WWI. Two Slavic peoples, the Czechs and the Slovaks, came together to form the country along with three million German speakers from the Sudeten area on the border with Germany, and smaller numbers of Hungarians, Ukrainians and Poles. The 20 years since its creation had seen its democracy and economy flourish.
The main threat to the fledgling nation was from Hitler’s plans for expansion and from the Sudeten Germans who, used to being part of the German-speaking Austrian empire, were not happy at their inclusion in a Slav-controlled state.
By March 1938, Hitler had successfully invaded Austria without a shot being fired. With one major German-speaking territory under his control he then turned his attention to another – the Sudeten area of Czechoslovakia.
Hitler wanted to use the Sudeten Germans to create trouble in Czechoslovakia and, as he had in the Rhineland and Austria, use this as a pretence for invading and “restoring order”.
Not content with merely one piece of Czechoslovakia, Hitler planned to smash the country. The Czechs and Slovaks were of Slavic origin and, according to Hitler’s racial proclamations that the German/Aryan people were superior to other races, they were considered Untermenschen (subhuman).
Hitler builds the tension
Hitler financed and supported the Sudeten German Party under Conrad Henlein. With Hitler’s backing the party became a force to be reckoned with in Czechoslovakia.
- In March 1938, Hitler ordered Henlein to create a crisis in the country. The Sudeten Germans made increasingly bold demands from the government. When the demands could not be met they insisted that they were being persecuted.
- In April 1938, Henlein announced his Karlsbad Programme for Sudeten self-government, and organised civil unrest.
- In May 1938, Hitler moved his armies to the Czech border to intimidate the Czechoslovakian President, Benes. In response, Benes mobilised the Czech army into positions along the border.
- In July 1938, Hitler promised Britain’s Prime Minister, Neville Chamberlain, that he would not invade Czechoslovakia if he were given control of the Sudetenland.
- In September 1938, Hitler made an inflammatory speech against the Czechoslovakian President, Benes, at a Nazi rally at Nuremberg.
- On the 12 September, the Sudeten Germans rioted and martial law was declared in Czechoslovakia.
Read the rest here
Following Michael Gove’s bizarre article in the Mail, attacking ‘Blackadder’ and ‘Oh What A Lovely War’ (and then fellow Tory Max Hastings’ equally fatuous follow-up), I thought it might be an idea to check up on what a proper historian has to say about the First World War. Here’s the late James Joll (Emeritus Professor of the University of London and a Fellow of the British Academy), in his 1973 book Europe Since 1870:
Any single explanation for the outbreak of war is likely to be too simple. While in the final crisis of July 1914 the German government acted in a way that made war more likely, the enthusiasm with which war was greeted by large sections of opinion in all the belligerent countries and the assumption by each of the governments concerned that their vital national interests were at stake were the result of an accumulation of factors — intellectual, social, economic, and even psychological, as well as political and diplomatic — which all contributed to the situation in 1914 and which can be illustrated in the events of the last weeks before the outbreak of war.
While some people have argued — and it was a popular view in the period between the wars — that the war was the result of the ‘old diplomacy’ and of an alliance system based on secret agreements, others, and especially some of the leading German historians since the Second World War, have seen in the war a half-conscious or in some cases deliberate attempt by governments to distract attention from insoluble domestic problems by means of an active foreign policy and an appeal to national solidarity at a time of war. For Marxists the war was inherent in the nature of capitalism; the forces which drove states to expand overseas were in this view leading inevitably to a clash in which the great international cartels would no longer be able to agree on a peaceful division of the under-developed world and would force governments into war for their own economic interests. Other writers have concentrated attention on the implications of strategic decisions and on the influence of for example the naval rivalry between Germany and Britain in creating international tension, or on the effects of the German decision finally taken in 1907 that, in order to defeat the French army before turning to fight the Russians on the Eastern Front, it would be necessary to violate the neutrality of Belgium, and thus run the risk of bringing Britain into the war as a guarantor of Belgian neutrality under the treaty of 1839
If we try to account for the widespread optimism and enthusiasm with which the war was initially greeted by many people in all the belligerent countries, we have to look at many of the factors described in the preceding chapters — the belief that the doctrine of the survival of the fittest could be applied to international relations, so that war seemed to be the supreme test of a nation’s right to survive; the belief, stemming from Nietzsche, that only by a supreme shock and effort could the limitations of bourgeois life be transcended and its essence transmuted into something nobler. Or again, even if the governments of Europe did not deliberately envisage war as a way out of their internal political difficulties, the fact remains that war briefly produced a sense of national solidarity in which bitter political quarrels were forgotten: Irish Catholics and Ulster Protestants could agree to shelve their differences ‘for the duration’, as the phrase went; right-wing Catholics and socialist free-thinkers who had not spoken for years shook hands with each other in the French Chamber of Deputies, and the Kaiser gave a warm greeting to a gentleman whom he mistakenly supposed to be the Social Democratic leader Scheidemann. In Germany in particular the war seemed to create a new sense of solidarity, of belonging to a Volsgemeinschaft such as a generation of social critics had been longing for, a national community in which class antagonisms were transcended and in which the Germans felt rightly or wrongly a sense of mission and of purpose which had been lacking since the 1860s and early 1870s.
But perhaps in addition to the illusion that the war would be a short one, the illusion which received the most bitter blow, even though it was to be revived hopefully by President Wilson in 1918, was the belief that international relations could be conducted on a rational basis in which the interests of the various nations could be made to harmonise with each other without the need for armed conflict. It was this illusion that had governed Grey’s diplomacy and his attempt to mediate between the continental powers in the last days of July 1914; and it was a similar belief that inspired the leaders of the Second International when they came to Brussels in the hope of finding a way to demonstrate that the international solidarity of the European working class was stronger than the division between their capitalist rulers. The ideological assumptions on which European liberalism had rested were already breaking down before 1914. The war was going to hasten this process in the field of practical politics and everyday social and economic life. The war destroyed the political, economic, social and territorial structure of the old Europe and neither conservatism nor liberalism nor even socialism were ever going to be the same again. From the standpoint of sixty years later there is all too much truth in the prophesy made by Jean Jaures in 1905: ‘From a European war a revolution may spring up and the ruling classes would do well to think of this. But it may also result, over a long period, in crises of counter-revolution, of furious reaction, of exasperated nationalism, of stifling dictatorships, of monstrous militarism, a long chain of retrograde violence.’
I have little doubt that I shall be returning to James Joll from time to time throughout the coming year: in the meanwhile I recommend Europe Since 1870 (from which the excerpts quoted above were taken) and his The Origins of the First World War (1984, with Gordon Martel). I doubt that Michael Gove will want to read anything so objective, scholarly and challenging.
Comrade Coatesy: ‘Daily Mail Attacks My Granddad.’
Above: the wreckage of a Jewish shop in Berlin, the day after Kristallnacht
From the Irish Times:
It took a month – and a pointed request from Dublin – for our man in Berlin to file a report on Kristallnacht, November 9th, 1938.
Now a Berlin synagogue destroyed 75 years ago in the so-called “Night of Broken Glass” is exhibiting Charles Bewley’s “disgraceful and unfathomable” report.
The 13-page document, condemning the “undesirables in the Jewish race”, is notorious in Irish diplomatic and academic circles. But a German curator expects it to cause “astonishment” when it goes on display for the first time on Monday in Berlin.
“That a diplomat let fly like this is singular, I’ve never seen anything like it and I’ve read a lot of reports,” said Dr Christian Dirks, curator of the exhibition of diplomatic dispatches on the 1938 pogrom.
After years of official harassment of Jews in Nazi Germany, the state-sanctioned violence against Jews, their businesses, homes and places of worship on November 9th-10th, 1938, is seen as the start of the rapid road downhill to the Holocaust.
The Nazis dubbed it a “spontaneous expression of outrage” at the murder of Ernst vom Rath, a German diplomat in Paris, by Herschel Grynszpan, a German-born Jewish refugee of Polish parents. But many of the 100 diplomats cited in the exhibition noted that Germans were ashamed of this flimsy attempt to cover up high-level Nazi involvement.
The Bulgarian embassy wrote that it seemed “nothing will be able to stop a permanent solution to the ‘Jewish question’”.
Even Italy, a future Axis ally of Nazi Germany, was shocked by events, writing that it was “simply not imaginable that, one day, 500,000 people will be put up against a wall, condemned to suicide or locked up in huge concentration camps”.
Nazi propaganda minister Joseph Goebbels noted in his diary on November 11th: “We’ll wait for the reactions abroad. For now there’s still silence, but the uproar will come.”
There was much uproar, just not from Bewley. In sober language he describes the growing exclusion of Jews from German public life and describes the events of November 9th as “obviously organised”.
But his report, which begins in the tone of a dispassionate diplomatic observer, soon identifies with claims in Germany of the time that Jews dominated the worlds of finance and entertainment and used their influence to instil what he calls “anti-Christian, anti-patriotic and communistic” thinking.
He says their corrupting moral influence – promoting abortion, controlling the white slave trade – helps explain the “elimination of the Jewish element from public life”.
“Of all the diplomatic reports this one is usually demagogic and nasty,” said Dr Hermann Simon, director of Berlin’s Centrum Judaicum. “He really left no cliche out.”
In the report’s last section, Mr Bewley takes issue with the Irish media for following the pro-Jewish line of the “British press, itself in Jewish hands”, and “Anglo-Jewish telegraph agencies” by displaying prominently news of oppression against Jews but suppressing news of crimes perpetrated by Jews and anti-fascists.
In his conclusion he holds back from advising Dublin on how to correct what he believes is Ireland’s one-sided view of what he calls the “Jewish problem”, while leaving little doubt that he views Jews themselves as the key issue.
The anti-Semitic virulence in Bewley’s report is “unique” among the diplomatic dispatches, according to curator Christian Dirks.
“The report bowled us over,” he said. “It proffers an educated anti-Semitism which doesn’t just blame the Jews for everything but provides alleged reasons for anti-Jewish feeling. In many passages it recalls arguments you hear today from neo-far right thinkers like David Irving. ”
As well as quotes from the Bewley report in translation, the exhibition details his appointment to Ireland’s mission to Berlin in September 1933, his recall in summer of 1939 and subsequent departure from the diplomatic service. He settled in Rome and died there in 1969.
Von Trotta is eager to fight Arendt’s battles, but time and again shows that she is no more equipped to understand them than [Mary] McCarthy was. Especially clumsy is her attempt to correlate Arendt’s philosophy to a contemporary posture toward Israel. Despite von Trotta’s having Arendt refer to her Zionism as a “youthful folly”, the political picture has simply changed too much for an overlay of Arendtian acetate paper to mean anything.
The Yad Vashem footage and Hannah Arendt are not the only film releases to explore Arendt’s legacy, or Eichmann’s. At this year’s Cannes Film Festival, Claude Lanzmann premiered his documentary The Last of the Unjust. More than three-and-a-half hours long, the film is a series of outtakes from Lanzmann’s monumental Shoah, all of them featuring Benjamin Murmelstein, a Nazi-appointed “Jewish Elder”, who speaks about the choices he had to make while running the Czechoslovakian concentration camp Theresienstadt; at one point, he describes himself as a “marionette that had to pull its own strings”.
Murmelstein is a figure like those that Arendt implicated in Eichmann in Jerusalem, where she alleged that the co-operation of leaders of the Judenräte (Jewish councils) with the Nazis expedited their own annihilation. Murmelstein’s reflections make Arendt’s wholesale indictment of those in his position seem unjust.
And so the Arendtian myth suffers a bit, on one end from Lanzmann’s repudiations and on the other from von Trotta’s anaemic boosterism. The best outcome would be a recalibration of her legacy, one acknowledging that her literary inclinations (nurtured by her friend Mary McCarthy) occasionally overtook her philosophical principles.
Read the full article here.
I haven’t seen the film and so cannot comment upon whether Lurie’s criticism is fair. But I’m grateful to her for reminding us that we don’t have to take Arendt’s word for it regarding Eichman’s “banality” as supposedly demonstrated at his trial: we can see, and judge, for ourselves, thanks to the extraordinary and inevitably highly disturbing Yad Vashem footage:
From the Workers Liberty archives:
Like a brilliant gleam of light in the gathering darkness of the post-war years, the rising of the German working class has already shattered myths and shamed despair. It has already answered a host of questions that had been passed by those who became panic-stricken before the seemingly invincible strength of Stalinist tyranny.
These June days may well go down in history as the beginning of the workers’ revolt against Stalinism — the beginning, in the historical view, quite apart from any over-optimistic predictions about the immediate aftermath to be expected from this action itself.
Is the Iron Curtain empire monolithic? Have the workers of East Europe been so duped by Stalinism as to become cowed creatures, hypnotised, straightjacketed by the Stalinist ‘mystique’? Has the working class lost its revolutionary dynamism? Is the Russian power so solid, or all-intimidating, within that there is no hope of stopping its menace except by Western military might and the third world war? The German working class has given an answer, and it is the answer we Independent Socialists have looked to.
Beginning as a spontaneous, peaceful mass demonstration against the latest speed-up decree increasing work norms, in 24 hours it necessarily became a battle with the real power in the country, the Russian troops. Beginning as a movement for economic demands, it was at bottom, and quickly became overtly, a political demonstration.
Five hours after it began at 9 am on June 16, the regime had already capitulated on the immediate issue of speed-up, withdrawing its ukase.
On the second day of the action, Russian tanks, armoured cars, artillery and soldiery had taken over from the East German police, who had refrained from blocking the riotous demonstrators.
In the vanguard of the march, and apparently its inspirers, were several hundred construction workers…
(Hal Draper, Labor Action, 22 June 1953)
For the full article by Hal Draper, and more by Max Shachtman and others…
By Terry Teachout, in Commentary
Above: the Vienna Philharmonic under Hans Weisbach, playing in Bucharest in 1941
The Vienna Philharmonic recently issued a report by a group of independent historians in which the orchestra officially acknowledged for the first time the closeness of its relationship to the Third Reich. Not only had half its players become members of the Nazi Party by 1942, but all 13 of its Jewish players had been fired four years earlier and five of them later died in the camps. A few weeks later, Der Spiegel published a 6,000-word essay called “Wagner’s Dark Shadow: Can We Separate the Man from His Works?” in which Dirk Kurbjuweit dealt no less honestly with the continuing inability of many German music lovers to grapple with the fact that Richard Wagner was a virulent anti-Semite whose writings directly influenced Adolf Hitler.
The extent to which Hitler and his cultural commissars sought to control and shape European musical life has been chronicled in detail. But most of these books have dealt primarily or exclusively with German-speaking performers and those performing artists from other countries, France in particular, who collaborated with the Nazis. Yet the unswerving determination of the Nazis to rid Europe of what they called entartete musik (degenerate music) may well have had an even more far-reaching effect on postwar European musical culture. After all, many well-known Jewish classical performers—Fritz Kreisler, Artur Schnabel and Bruno Walter among them—managed to emigrate to America and other countries where they continued their careers without significant interruption. Not so the Jewish composers whose music was banned by the Nazis. Some of them were killed in the Holocaust, and none of those who survived succeeded in fully reconstituting their professional lives after the war.
A turning point in our understanding of the effects of Nazism on European classical composition came in the 1990s when Decca/London began to release a series of albums called “Entartete Musik” containing some 30-odd works by such celebrated Jewish composers as Erich Wolfgang Korngold, Franz Schreker, Arnold Schoenberg, and Kurt Weill, all of whom had their music banned. After the series came to an end, Michael Haas, its producer, decided to devote himself to further study of the subject. Now he has written a book called Forbidden Music: The Jewish Composers Banned by the Nazis (Yale, 352 pp.). It is, amazingly, the first full-length history of what happened to the composers who ran afoul of the Nazi regime.
Though Haas is not a historian by training, Forbidden Music is still an outstandingly fine piece of work, one that not only tells the story of what happened to these composers but also places it in the historical context without which we cannot fully understand their sufferings. For the history of entartete musik is in large part a tale of Jewish assimilation and its discontents—and of Wagner, whose own mad obsession with Judaism had much to do with the fate of the composers who later felt Hitler’s wrath.
Prior to the social emancipation of Jewry that followed the establishment of Austria-Hungary’s dual monarchy in 1867 and the German Reich in 1871, it was all but impossible for German-speaking Jewish classical composers to achieve success in their native lands. The most important ones either emigrated (like Jacques Offenbach) or spent large parts of their career in other countries (like Felix Mendelssohn).
Given the extent to which Austro-German musical culture dominated classical music throughout the 19th century, it stands to reason that emancipation should have inspired many Jewish composers not merely to assimilate socially but to embrace a new cultural identity for which they had longed so intensely. It was, Haas writes, “the long-awaited entry [of the Jews] into the most élite, educated and cultivated ‘club’ on earth.” Arnold Schoenberg, the least “clubbable” of men, went so far as to proclaim that his invention of the 12-tone method of atonal composition would (in his oft-quoted words) “ensure the supremacy of German music for the next hundred years.”
Not surprisingly, many of these composers sought to expunge all recognizably Jewish elements from their music, hoping thereby to compose in the “true” Germanic tradition. Those who, like Karl Goldmark, failed to purge their styles with sufficient thoroughness were attacked for that very reason by such assimilated Jewish critics as Vienna’s Eduard Hanslick, who complained in a review of one of Goldmark’s operas of his “musical transliteration of Jewish Orientalism….It’s even used when general human feelings are called for rather than anything specifically Jewish.”
Despite their fondest hopes, these musicians were never able to escape the blight of anti-Semitism. Part of the problem was that their success led to growing envy on the part of less accomplished Gentile musicians. Just as important, though, was the emergence of a specifically racial brand of anti-Semitism of which Richard Wagner was the first major proponent. In Judaism in Music and Other Essays (1850) and other writings, Wagner proclaimed his “instinctive repugnance against the Jew’s prime essence” and decried “the be-Jewing of modern art,” going so far as to claim that Judaism threatened German culture itself, since Jews were “the purest of all races and it matters not with whom they mix: the Jewish race always dominates.”
Wagner’s race-based anti-Semitism became an accepted part of the cultural conversation in fin-de-siècle Europe, and it may have had an inhibiting effect on at least some of the Jewish composers of the period. The vast majority of German-speaking Jewish composers of the post-emancipation era were so determined to emphasize their “Germanness” that their music became derivative. Some favored Wagner’s hyper-romanticism, others the conservative traditionalism of Johannes Brahms, but whatever their choice, the result was a body of work that is—with good reason—almost totally forgotten today.
Not until Gustav Mahler, whose First Symphony was performed in 1889, did a Jewish composer of profound, even radical, originality appear on the scene. Yet Mahler’s relationship to his Jewish heritage was complex in the extreme. On the one hand, he unhesitatingly incorporated Jewish elements into his music—the slow movement of the First Symphony, for instance, contains a section that evokes the pungent sound of what would come to be called klezmer. At the same time, though, Mahler was, as Haas explains, equivocal about his background. Not only did he convert to Roman Catholicism to facilitate his appointment as director of the Vienna Hofoper (later the Vienna State Opera), but he “shuddered at the sight of kaftan-wearing, bearded Jews from Eastern Europe and refused to identify with them.”
Whatever his personal feelings about Judaism, Mahler was the key figure in the development of the next generation of post-emancipation Jewish composers. For those who were convinced that Wagner’s all-encompassing romanticism was a dead end—a “debilitating condition” (as the musicologist Alfred Einstein put it) that threatened to smother Austro-German musical culture—Mahler’s symphonically oriented style, at once more acerbic and more linear, offered budding modernists such as Schoenberg a much-needed alternative to the stodgy conservatism of the Jewish composers of the late 19th century.
Schoenberg soon found himself in the vanguard of musical modernism, though he and his followers, Jewish and otherwise, were outnumbered by other composers who still looked to Wagner or Brahms for guidance. But whatever their musical allegiance, these men all followed the path of assimilation, for they were true believers in Austro-German musical culture who wanted to preserve or (in Schoenberg’s case) improve it. It never occurred to them that their passport to that culture could be revoked.
How would Austro-German musical culture have evolved had Jewish composers continued to play a part in its development? The question, while provocative, is unanswerable, for starting in 1933 Adolf Hitler removed them from the scene. Read the rest of this entry »
BBC Radio 3 starts a week of Wagner in commemoration of the 200th anniversary of the composer’s birth.
It begins with:
Wagner In Zurich: 12.15, Saturday 18 May
Tom Service travels to Zurich, where Richard Wagner the revolutionary lived in exile for nine years, and finds a city which played a crucial role in the development of the composer’s thinking and provided fertile ground for his Ring Cycle, and which is marking the 200th anniversary with a festival including a new musical theatre piece by the director Hans Neuenfels. Tom visits the home of the Wesendonck family, where Wagner was inspired to write Tristan und Isolde and his Wesendonck Lieder, and also the idyllic Tribschen district of Lucerne, where Wagner later lived and composed his Siegfried Idyll as a birthday gift to his second wife, Cosima. It was from Germany’s 1848 revolutions that Wagner had fled to Switzerland, and from Leipzig, Wagner’s birthplace and a city which is central to this year’s anniversary celebrations, the BBC’s Berlin correspondent Stephen Evans reports on the composer’s controversial place in German culture today.
Saturday Classics: 3.00pm, Saturday 18 May
The great English operatic bass Robert Lloyd joins Radio 3′s celebration of the 200th anniversary of Wagner’s birth with selections from his favourite Wagner operas.
Mastersingers of Nuremberg
Duration: 58 minutes: 1.00pm, Sunday 19 May
Immortalised by Wagner in his famous opera, Lucie Skeaping looks back on the life and music of the real Hans Sachs and his fellow Mastersingers in 17th Century Germany.
Wagner and His World
At 12.00 pm throughout the week Donald Macleod explores the connections and relationships that helped establish Wagner as the most revolutionary musical thinker of the 19th century. Includes:
One Winter’s Afternoon
8.00 pm, Sunday 19 May
The story of the great operatic rivalry between Guiseppe Verdi and Richard Wagner in the year marking the bicentenary of their births. In real life, the two great composers never met.
There’s no denying the fact that Richard Wagner wrote some sublime music. But never forget this, either: