Disturbing the Universe: Wagner's Musikdrama

by David Vernon

The Amazon No. 1 Bestseller

'Engaging, wry and topical' — The Wagner Journal

'A rattling good read. Vivid, colourful ... A valuable addition to any Wagnerian's library – highly recommended.' — Paul Carey Jones

'A great and necessary addition to the Wagner literature. Clever and clear without being intellectually boring.' — Matthew Rose

'A sensational tome. A perfect introduction to Wagner's complex world, but also completely engaging for the lifelong Wagner nut.' — Kenneth Woods, Artistic Colorado MahlerFest

Wagner’s art refuses to stand still, declines to play by the rules and will not observe any of the social graces.

What is it that makes Wagner so endlessly powerful? So influential, seductive and repellent? So simultaneously creative and destructive? And why does it continue to shock, thrill and disturb all those who encounter it?

In Disturbing the Universe , David Vernon probes – in his incisive, provocative style – each of Wagner's mature works individually, from Der fliegende Holländer to Parsifal . He unpacks and interrogates the exquisite networks Wagner created through the radical development of opera into musikdrama.

Written in spirited and enticing prose, this book will appeal to Wagner addicts and connoisseurs as well as to novices and sceptics. It invites us all to look anew at a timeless and controversial art.

307 pages, Paperback

Published September 11, 2021

Reviews

[Ed Heinzelman · Rating 5 out of 5]

http://www.anintuitiveperspective.com...

[Paul Jones · Rating 5 out of 5]

David Vernon’s new book is an insightful journey through the operatic works of Richard Wagner, and a rattling good read. Vernon’s writing style is vivid, colourful and, most crucially, crystal clear. Meanwhile, his central theme - the unique, revolutionary nature of Wagner’s “musikdrama” - is convincing, compellingly and knowledgeably argued. The book takes each of Wagner’s mature works in turn and guides us through their varying natures, charting the development of Wagner’s ideas and aims over time. Vernon explicitly avoids dealing with too much of Wagner’s biographical details, except where they have a direct impact on the operas themselves; but despite clearly being an ardent Wagner fan, he doesn’t shy away from the more problematic aspects of the composer’s work when those moments arise. This book’s ideal reader might be someone who has dipped their toes into Wagner’s music and liked what they’ve heard, and now seeks a guide towards further understanding what lies deeper within the dramas themselves. But hardcore Wagner fans, not to mention those who make a living from performing his works, will also find a great deal into which to sink their teeth. Included at the end are pithy synopses of each opera, as well as suggestions for further reading which are well-judged and not too overwhelming. Overall, this is a valuable addition to any Wagnerian’s library - highly recommended.
(NB the author listed here on Goodreads is a different David Vernon.)

[D.B. John · Rating 4 out of 5]

A hugely enjoyable book, and, although it's academic in tone, I was carried along by it as by the strong currents of the Rhein, including the parts where it gushes and overflows its banks. Wagner threw the kitchen sink at the climax of Götterdämmerung, and this author does the same with every superlative adjective in the dictionary. It also gave me a revived awe for the one-off revolutionary genius of Wagner.

The book focuses on solely on the significance and scoring of the musikdramas and their libretti, bringing in the composer's biographical details only when they shed light on his work. This was wise. When the author descirbes the extraordinary orchestral effects that surround the dwarf Mime in 'Siegfried', I listened to it again, and was struck by the thick marinade of antisemitism, not so much in the libretto, but in the music – the cloying, grasping, covetous, yearning, cringing sounds that accompany him. (All the same, Mime is not an unlikeable character. Once the audience gets to know the impetuous, bully-boy know-nothing ingrate Siegfried, Mime has our sympathy).

I take the author's point about the role of new productions in renewing the music's power and relevance. However, Shakespeare is often performed in period style without feeling jaded, but the Ring seldom is. My problem is that I'm often siting through a production that feels trite and at odds with the wealth and force of the music. It's almost as if they're satirizing the work, sending it up. Perhaps mindful of the long shadow that still trails Wagner's reputation, these productions seem to want to dispel it in some way. The dubious-sounding productions the author enthuses over (admittedly I wasn't there) sound like they would have earned a quiet raspberry from me. Since these are the only kinds of production I've ever seen, one day – just once – I'd like to see a Ring of winged helmets, flames, a Brunnhilde in chainmail, not pushing a tea trolley. Siegfried looking as if he's reforging a sword, not making toffee. Perhaps the time is ripe for a reimagining of Wagner's original vision. That really would seem fresh and new.

[Michael · Rating 4 out of 5]

Like the Wagner corpus, very uneven. The best essays are, happily, those concerning the 4 masterpieces; Walküre, Tristan, Meistersinger, and Parsifal. There’s not much to recommend in the other essays. But those 4 chapters are worth the price of admission. For some reason, the author gives puzzling credence to questionable productions by name, as though these have some special authority or insight.
Happy to have read it and to have on my shelf.

[Dan Earle · Rating 5 out of 5]

good read

Gives a thoughtful insight to work of Wagner. Need to be an appreciator of his work. Not for all. Try it.