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Musician Richard Wagner , very early became a symbol of the new Nazi Germany . His operas revived legends that in the nineteenth century were very popular. Coming from a seemingly glorious past, they portrayed incessant clashes between nations and mythical lines to undress, allegedly, an ancient ethnic substrate capable of uniting Germanic peoples . Despite many of the fictional motifs that Wagner used to portray in his musical dramas, the truth is that his work proclaimed national unity by staging heroes, gods, giants and dragons.
Supporters of the construction of a Third Reich , understood that in the history of the Germans there was the answer. Evoking heroic times could create new heroes . They only needed a popular class leader who was interested in this facet of culture. He had to interpret those exage ideals of a nation that had been sustaining since romanticism . Of course, this is where the gloomy figure of Adolf Hitler appears.
According to the work of Roy Godson, Strategic Denial and James J. Wirtz, “ The Challenge of the 21st Century ” ( New Brunswick and Transaction Publishers , 2002), the power of German National Socialism must have been strongly supported by structures comparable to those of Stalin in the Soviet Union .
Nazism it would not then come from a spontaneous manifestation, but from the need for certain strata of Germanic society capable of using popular slogans and fervors in order to consolidate a structure appropriate to their economic interests .
This is why Godson, Denial and Wirtz think Hitler entrusted himself to the key man of the Reich doers. A profound dislike to the Jews nested in his speech. Combined with their anti-communist struggle , it was finally easy to reach the public. The Germans were looking guilty of their misfortunes . That was how the days of propaganda had begun.
Argentina, despite being in the opposite hemisphere, would be highly receptive to this key circumstance of the dawn of World War II .
At the same time, it might be key to see how Wagnerian music cycles increased among music lovers in this part of the world. Would there be the key to the penetration of Nazism in Argentina ?
After 1933 and until 1946, Wagner's performances of operas reversed Buenos Aires taste equalizing Verdi and Puccini in number. Just see the database of all the operas performed at Teatro Colón in Buenos Aires since 1908 -official season-. The typical Italian taste of the public that accessed at least the Teatro Colón, since the 1930s, apparently became germanized.
Referring precisely to the 1933 season, “ Musical artists emigrated from the Third Reich to Argentina ”, by Agustín Blanco Bazán, confirms that the special circumstances that “allowed the Third Reich to bring together Nazis and anti-Nazis in the organization of one of the most successful German seasons of Teatro Colón ” (see appointment in Cycles, Year XVII, Vol. XVI, No. 31/32, year 2007, about the 1933 season ).
It should also be said that the only country that maintained such permanent performances of German music throughout World War II was ours.
This relationship isn't crazy. It seems that “ the Nazis used opera as a powerful propaganda tool ,” according to Stuart Bra a in “ Hitler and Opera: epic works to prove power ” ( DW Culture, 2018 ). “ During the Nuremberg ralings,” he notes in particular, “Hitler was personally involved in the staging of some epic Wagner productions .”
It happens that Stuart Braun , after analyzing the role of the prestigious musician in the Reich propaganda, ends up revealing that The Masters Singers of Nuremberg , “ an operatic odyssey of four and a half hours,” ended up becoming “the favorite of the National Socialists.” It seems that “it was performed at the Berlin State Opera on the occasion of the founding of the Third Reich in March 1933 .”
Richard Wagner's “ Masters Singers ” was declared since then “the most German of all operas” because it was tailored to the propagandistic needs of Nazi art, portraying master singer Hans Sachs — his protagonist — as a patriotic creative genius.” In the light of Braun 's analysis, the character of Sachs “worked, above all, at the service of his people and the race .”
Apparently, this mixture of music, nationalism and political power proved a perfect formula for the doers of the Nazi party . Braun provides further evidence and confirms that the success of Wagner's piece was so explosive that “the work triumphantly returned to its homonymous city when the prelude to Act III appeared in Leni Riefenstahl's Nazi propaganda film, 1935, 'The Triumph of the Will ', which represented the congress of the 1934 Nazi party in Nuremberg, which was attended by hundreds of thousands of Hitler's followers.” The next place where this propaganda escalation unleashed, although it seems incredible, was Buenos Aires .
The appointment would be at Luna Park , The date, April 10, 1938. The Argentine flag and swastika flamed together in the towering stands of the most modern Covered Stadium in the region, located in downtown Buenos Aires. Gathering 15,000 supporters of the Reich , the image of Nazism had managed to internationalize here, in front of the Rio de la Plata . At the same time, at our first coliseum, Sigfrido , Richard Wagner's epic work, emerged shocking from the orchestra's moat. Something very mysterious was happening .
Publication Date: 08/12/2019
extraordinario! un placer leerlo. Es verdad, las temporadas de musica alemana fueron muy importantes en esa epoca. La wagneriana ya existía desde principios de siglo pero lo de los años 30 fue descomunal. Gracias profesor.
Apasionante. Espero la tercera entrega. Me imagino que va a aparecer el peronismo
de acuerdo con el señor Carlos. Una investigación de lujo. Gracias profesor.
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