※ 引述《news2007 (優質台客)》之銘言： : 2007/07/06 : 【聯合報╱編譯王先棠╱報導】 : 外界一直認為，在希特勒掌權的納粹德國，深受希特勒喜愛的德國作曲家華格納的作品最 : 受歡迎，德國各大歌劇院每晚擠滿了要看「尼貝龍根指環」、「紐倫堡名歌手」的觀眾。 : 然而，實情可能並非如此。 : 英國作家強納森‧卡爾在他即將出版的新書「華格納家族」（暫譯）中表示，希特勒主政 : 時代，華格納的歌劇在德國民眾心目中，分量遠不及法國比才和義大利普契尼的作品。 : 企圖打破迷思的卡爾說，希特勒本人很愛華格納的音樂，但是納粹黨人與德國民眾，卻對 : 華格納感到厭煩，寧願去看比才的「卡門」與普契尼的「蝴蝶夫人」。他說：「我們以前 : 都認為，希特勒上台之後，德國人開始湧進歌劇院欣賞華格納的歌劇，事實卻恰恰相反。 該書書名是The Wagner Clan，美國的Amazon還找不到 但英國的Amazon已可以預購了：http://0rz.tw/592O5 聯合報應該是從以下的報導節譯的： Wagner popularity went through the ring cycle in Nazi era July 4, 2007 ACCORDING to popular belief, Nazi-era Germans flooded opera houses to be enthralled by Rhinemaidens and Valkyries. But Richard Wagner, far from being the Third Reich's "house composer", actually became much less popular during Adolf Hitler's rule, according to new research. Germans were much more keen on Carmen, Bizet's tale of a soldier's scandalous obsession with a Gypsy, and on Madama Butterfly, Puccini's opera about an officer's doomed liaison with a Japanese courtesan — neither particularly appropriate tales by the standards of Nazi ideology. According to Jonathan Carr, author of the book The Wagner Clan, Hitler was obsessed by "the Master", but the party faithful were not and attended performances at Hitler's insistence. "We are all told that the Germans poured into opera houses to listen to Wagner as soon as Hitler came to power. The opposite is true," Carr said. The party faithful's devotion to Wagner has also been exaggerated, according to Carr. We may think of Wagner as the soundtrack to Nazism, with newsreels of Hitler at Bayreuth and the famous Wagner performances at Nuremburg rallies. But according to the memoirs of Albert Speer and Hitler's secretary, Traudl Junge, most Nazis were bored silly at the prospect of watching five-hour epics. At the 1933 gala performance of Die Meistersinger, for instance, so few turned up that a furious Hitler sent patrols to drag party members out of beer gardens and brothels, Speer wrote. And during one performance of Tristan and Isolde, Junge recalled, a member of Hitler's group dropped off and had to be saved from falling from the box they were in. His rescuer had himself been asleep for most of the performance. The author analysed the operas performed in Germany in the 1930s. Wagner's works did not come to dominate the output. Rather, they had begun a slow decline during the Weimar period and continued to wane. In the 1932-33 season Carmen was the most performed opera in Germany, with Weber's Der Freischutz second. Four Wagner operas were placed next. But by 1938-39 the highest-ranked Wagner opera, Lohengrin, was at only 12th place. Puccini's Madama Butterfly was third. And by the war years, Verdi, not Wagner, was Germany's most performed opera composer. Wagner's market share dropped to less than 10 per cent. "Wagner was already considered by the younger generation to be rather old hat," Carr said. Wagner's music was used at key events for the Nazi regime — such as the opening of the Reichstag or to accompany radio announcements of important deaths — but Wagner's popular penetration has been exaggerated, Carr said. GUARDIAN --

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