Introductory to the Study of Wagner's Comic Opera, “Die Meistersinger Von Nürnberg.”

Extract

It is not many years since Wagner was frequently spoken of by his friends as the “best-abused musician in Europe.” And so he was; for in almost any circle of musicians mention of his name acted like a red rag upon a bull, and gave rise to all kinds of invectives. Happily for himself and his admirers, he has lived down prejudice, and certainly may now be regarded as the best protected, if not also the best paid among living composers. Throughout the civilised world his works have evoked a far larger amount of attention than those of any other composer have ever done during his lifetime. The interest in them may therefore be regarded as universal. Indeed, thus much has been admitted even by the most determined of his opponents. Under these circumstances I feel that I need not apologise, as I should have had to have done some few years ago, for having made choice of one of Wagner's operas as a subject to bring before the Musical Association. My excuse, if an excuse be needed, for giving the preference to “Die Meistersinger,” rests on the fact of its being one of those of Wagner's operas which have not yet been performed in this country, and on the good probability there seems to be of its being brought to a hearing in London at no distant date.