Career
Wolfgang worked with his older brother Wieland Wagner in 1951 on the resurrection of the Bayreuth Festival following Germany's collapse after the Second World War. Since that time, the festival has run on an annual basis. On Wieland's death in 1966, Wolfgang became the sole director of the festival and, under his directorship, the famous Bayreuth Festspielhaus underwent extensive renovations. He stepped down on 31 August 2008 when the year's festival had finished.
Both brothers contributed productions to the Bayreuth Festival, but Wolfgang did not enjoy the same critical reception as Wieland did. Like his brother, Wolfgang favoured modern, minimalist stagings of his grandfather's works in his productions. As director of the festival, Wolfgang commissioned work from many guest producers, including innovative and controversial stagings such as the 1976 production of the Ring Cycle by Patrice Chéreau. However, he confined the stagings at the festival to the last ten operas by his grandfather that make up the Bayreuth canon established under the direction of his grandmother Cosima Wagner.
Wolfgang attracted some criticism for what was seen as his autocratic sway over the Festival, much of which comes from within the Wagner family itself. Wieland's daughters, Daphne and Nike Wagner, have accused their uncle of ill-treating their branch of the family, saying that he drove them and their mother out of the family home following their father's death and destroyed the scenery, models and correspondence with artists relating to their father's work. Wagner writer Barry Millington notes two rather inconsistent threads of criticism about Wolfgang's role in managing the presentation of the family's connection with the Nazis. Daphne accuses him of blackening her father's name by releasing information on Wieland's connection with the Bayreuth satellite of the Flossenbürg concentration camp, while Wolfgang's own son, Gottfried, accuses him of having tried to suppress all information about the Wagner grandchildren's connection with the Nazis.
Nonetheless, he helped make the Bayreuth one of the most popular destinations in the world of opera. There was a ten-year waiting list for tickets. In 1994, he invited Werner Herzog (who had staged Lohengrin at Bayreuth in 1987) to make a documentary about the festival, which was released under the title Die Verwandlung der Welt in Musik (The Transformation of the World into Music).
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