Wagner’s familiarity with Minnesinger melodies from the Middle Ages has been considered by Larry Bomback, “ Wagner’s Access to Minnesinger Melodies prior to Completing Tannhäuser,” Musical Times 147.1896 (Autumn 2006): 19–31 Michael Scott Richardson, “Evoking an Ancient Sound: Richard Wagner’s Musical Medievalism” (Master’s thesis, Rice University, 2009). The German title is Tannhäuser und der Sängerkrieg auf Wartburg. In later mass culture, the troubadour puts in an appearance in the snatches from the musical drama that are incorporated into A Night at the Opera, the 1935 American comedy film starring the Marx Brothers. A central altar survives, but not the far larger triumphal arch, flanked by semicircular colonnades, that contained statues representing key figures from all of Verdi’s operas. The monument, inaugurated in 1920, was constructed by the Italian sculptor Ettore Ximenes, beginning in 1913. The premiere took place in Rome on January 19.Ī memorial in Parma. The Italian means simply “the troubadour.” The opera had an Italian libretto written mainly by Salvadore Cammarano, which was based on the 1836 Castilian play El trovador by Anto nio García Gutiérrez. Simmons, Popular Medievalism in Romantic-Era Britain (New York: Palgrave Macmillan, 2011), 59–62, 89–91. Elizabeth Fay, Romantic Medievalism: History and the Romantic Literary Ideal (Houndmills, UK: Palgrave, 2002), 3–8 Clare A. A related term is Meistersänger, “master singer.” This word anglicizes partially the German Minnesänger.

The Jongleur in the Circle of Richard Wagner

Kenneth Clark, Civilisation: A Personal View (London: BBC, 1969), 241. Edith Grossman (New York: Vintage International, 2003), 44.

Darkest dungeon collector twice