Gesamtkunstwerk, the total work of art. The German word describes a work that uses all or many art forms together. The philosopher K. F. E. Trahndorff used it in 1827.
Richard Wagner made the idea famous. In two essays of 1849, Die Kunst und die Revolution and Das Kunstwerk der Zukunft, he described an art that unites all the arts through the theater. English uses the German word.
The Bavarian State Opera in Munich sells subscriptions for its season. The dates of the subscription performances are printed on the subscription card, although the opera reserves the right to change them. Under the terms for 2025/26, a subscriber can cancel during the running season only aus außerordentlichen Gründen, for extraordinary reasons. For the next season, subscribers are offered a renewal with the same seats.
Richard Wagner saw his cycle Der Ring des Nibelungen as a single whole. When its first part, Das Rheingold, was ready, the cycle was not. Wagner wanted to wait until it was complete and stage it himself. King Ludwig II of Bavaria did not want to wait. He scheduled the performance at the Royal Court and National Theater in Munich, and Das Rheingold was first performed on September 22, 1869. Wagner stayed away from the premiere.
Between 1977 and 2003, Karlheinz Stockhausen composed LICHT, light, a cycle of seven operas named after the days of the week. Together they last about 29 hours. The whole cycle is built on a single superformula of three melodies, one for each of the central characters, Michael, Eva and Luzifer. The formula defines the tonal centers and the durations of whole scenes. Each opera is composed from an elaborated form of its own day’s part of the formula.
Richard Wagner began work on what became Der Ring des Nibelungen in 1848. He completed it in November 1874, twenty-six years later. The cycle had its premiere in 1876 in Bayreuth.
The terms of use of the Bavarian State Theaters are published as an official regulation. One sentence deals with latecomers. Mit Beginn der Veranstaltung erlischt aus Sicherheitsgründen und mit Rücksicht auf die mitwirkenden Künstlerinnen und Künstler sowie die anderen Besucherinnen und Besucher der Anspruch auf den gebuchten Platz. When the performance begins, the claim to the booked seat expires, for safety reasons and out of consideration for the performers and the other members of the audience. A latecomer is let into the hall only if there is a suitable break.
Beethoven wrote one opera, and he wrote it three times. The first version had its premiere on 20 November 1805, after more than two years of work. A revised version followed on 29 March 1806, and Beethoven withdrew it after the second performance. The third version, now called Fidelio, was first performed on 23 May 1814. The revision took him almost half a year. Along the way he wrote four overtures for the work: Leonore I, II and III, and the Fidelio overture. He wrote to his librettist Treitschke: die oper erwirbt mir die Martirerkrone. The opera is earning me the martyr’s crown.
In the third act of Richard Wagner’s Die Meistersinger von Nürnberg, the young knight Walther has already failed the masters’ singing test. He wants to write a new song, and he asks the shoemaker and master singer Hans Sachs: Wie fang’ ich nach der Regel an? (How do I begin according to the rule?) Sachs answers: Ihr stellt sie selbst und folgt ihr dann. (You set it yourself, and then you follow it.)
Richard Wagner’s opera Die Meistersinger von Nürnberg premiered in Munich on June 21, 1868. The town clerk Beckmesser holds the guild office of Merker, the marker. In the first act, the young knight Walther sings for admission to the guild. Beckmesser writes each of his faults on a slate with chalk, loudly. Because of the many faults, the masters decide that Walther has versungen, sung himself out. The real Hans Sachs, who lived from 1494 to 1576 and belonged to the Nuremberg guild, once proposed that the judgment of master-songs should not be left to the four markers alone. Several times a year, the audience should judge.
Wagner’s Das Rheingold was first performed on 22 September 1869 at the court theater in Munich. In the second scene, Wotan wants to get out of paying the giants for Valhalla. The giant Fasolt warns him to keep faith with contracts. Then he tells him why: Was du bist, bist du nur durch Verträge (What you are, you are only through contracts). Wotan cannot break the agreement without damaging the basis of his own power.