Esolde Evans, Hitwoman

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Gutman, Robert W. (1990). Wagner – The Man, His Mind and His Music. San Diego: Harcourt Brace Jovanovich. ISBN 978-0-15-677615-8. Friedrich Nietzsche, who in his younger years was one of Wagner's staunchest allies, wrote that, for him, " Tristan and Isolde is the real opus metaphysicum of all art... insatiable and sweet craving for the secrets of night and death... it is overpowering in its simple grandeur". In a letter to his friend Erwin Rohde in October 1868, Nietzsche described his reaction to Tristan's prelude: "I simply cannot bring myself to remain critically aloof from this music; every nerve in me is atwitch, and it has been a long time since I had such a lasting sense of ecstasy as with this overture". Even after his break with Wagner, Nietzsche continued to consider Tristan a masterpiece: "Even now I am still in search of a work which exercises such a dangerous fascination, such a spine-tingling and blissful infinity as Tristan – I have sought in vain, in every art." [37] Borchmeyer, Dieter (2003). Drama and the World of Richard Wagner. Princeton: Princeton University Press. ISBN 978-0-691-11497-2

On 21 July 1865, having sung the role only four times, Ludwig died suddenly – prompting speculation that the exertion involved in singing the part of Tristan had killed him. (The stress of performing Tristan has also claimed the lives of conductors Felix Mottl in 1911 and Joseph Keilberth in 1968. Both men died after collapsing while conducting the second act of the opera.) Malvina sank into a deep depression over her husband's death, and never sang again, although she lived for another 38 years. The next production of Tristan was in Weimar in 1874. Wagner himself supervised another production of Tristan in Berlin in March 1876, but the opera was only performed in his own theatre at the Bayreuth Festival after his death; Cosima Wagner, his widow, oversaw this in 1886, a production that was widely acclaimed.Wagner wrote of his preoccupations with Schopenhauer and Tristan in a letter to Franz Liszt (16 December 1854):

Tristan relapses and recalls that the shepherd's mournful tune is the same as was played when he was told of the deaths of his father and mother ("Muss ich dich so versteh'n, du alte, ernst Weise"). He rails once again against his desires and against the fateful love potion ("verflucht sei, furchtbarer Trank!") until, exhausted, he collapses in delirium. After his collapse, the shepherd is heard piping the arrival of Isolde's ship, and, as Kurwenal rushes to meet her, Tristan tears the bandages from his wounds in his excitement ("Hahei! Mein Blut, lustig nun fliesse!"). As Isolde arrives at his side, Tristan dies with her name on his lips. Thus, in the interests of being close to users, the Information Systems Department of the DGB (DSI) in collaboration with the DS undertook discussions which led to the implementation of a solution allowing partners and users to benefit from DS services without traveling. Gregor-Dellin, Martin (1983). Richard Wagner: His Life, His Work, His Century. London: William Collins. ISBN 978-0-00-216669-0.

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We cannot refrain from making a protest against the worship of animal passion which is so striking a feature in the late works of Wagner. We grant there is nothing so repulsive in Tristan as in Die Walküre, but the system is the same. The passion is unholy in itself and its representation is impure, and for those reasons we rejoice in believing that such works will not become popular. If they did we are certain their tendency would be mischievous, and there is, therefore, some cause for congratulation in the fact that Wagner's music, in spite of all its wondrous skill and power, repels a greater number than it fascinates. [31]