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 iv. If one begins with a recording that employs either unusually fast or
 unusually slow tempi, all subsequent recordings heard will sound either
 too slow or too fast in relation to one's first impression of the work.
 v. A beginner might not want to spend too much money, so we should
 consider recordings that might be available at a discount.  Unfortunately
 this mitigates against recommending the very latest recordings.
 vi. It would also be helpful if the first recording was packaged with a 
 libretto, which the cheapest recordings usually lack.

Taking both the above and newsgroup discussions into consideration, the 
editor of this FAQ makes so bold as to suggest the following as first
recordings.

* _Der Ring des Nibelungen_, studio recording, DECCA/London, 1964.
  Conductor: Sir Georg Solti. Vienna State Opera Chorus and Vienna
  Philharmonic. With Hans Hotter (R,S), George London (W), Birgit Nilsson,
  James King, Régine Crespin and Wolfgang Windgassen. Some consider the
  _Götterdämmerung_ of this cycle to be not only the best Wagner recording
  ever, but the best recording of the 20th century. The Penguin Opera Guide
  comments, "There is not a single weak link in the cast". Recently reissued
  after remastering. See the Wagner Books FAQ for books by John Culshaw, the
  producer of this recording. A beginner might also find useful the CD set,
  'An Introduction to Der Ring des Nibelungen', in which Deryck Cooke
  introduces the leitmotives of this work, using musical examples from the
  Solti/Culshaw recording.

* _Dutchman_, studio recording, Naxos, 1992. Conductor: Pinchas Steinberg.
  ORF Symphony Orchestra, Budapest Radio Chorus. With Alfred Muff, Ingrid
  Haubold, Erich Knodt and Peter Seiffert. A cheap and cheerful recording
  with libretto but no translation. Alternative also currently at budget
  price: Dorati on Decca/London, 1962, with London, Rysanek, Tozzi and
  Liebl, no libretto.

* _Lohengrin_, studio recording, EMI, 1964. Conductor: Rudolf Kempe.
  Vienna Philharmonic Orchestra, Vienna State Opera Chorus. The Swan Knight
  is Jess Thomas. Also with Elisabeth Grümmer, Dietrich Fischer- Dieskau,
  Christa Ludwig (in a much-admired interpretation of Ortrud), Gottlob Frick
  and Otto Wiener. There are some imperfections in sound quality. Reissued
  on 3 CDs (and therefore usually cheaper than sets with 4 CDs).
  Alternative: Kubelik.

* _Tristan und Isolde_, live recording, DGG, 1966. Conductor: Karl Böhm.
  Chorus and Orchestra of the Bayreuth Festival. Recorded in RW's Festival
  Theatre. With Wolfgang Windgassen and Birgit Nilsson in the title roles.
  Also with Christa Ludwig, Eberhard Waechter and Martti Talvela. Although
  the tempi are a little faster than usual (which allows each act to fit on
  a single CD) and the orchestral playing is not always perfect, this is
  widely regarded as one of the best 'Tristan' recordings. There is no
  audience noise and very little stage noise. Recently reissued after
  remastering. For alternatives, see the new discography by J. Brown.

* _Parsifal_, studio recording, Teldec, 1991. Conductor: Daniel Barenboim.
  Berlin State Opera Chorus and the Berlin Philharmonic. Parsifal is
  Siegfried Jerusalem, Kundry is Waltraud Meier, Gurnemanz is Matthias
  Hölle. Amfortas is José van Dam.  Alternatively, the 1980 Bavarian Radio
  studio recording conducted by Rafael Kubelik.  Parsifal is James King,
  Kundry is Yvonne Minton, Gurnemanz is Kurt Moll, Amfortas is Bernd Weikl.  
  For other alternatives, see the online discography of complete recordings 
  at < http://home.c2i.net/monsalvat/discogra.htm >.


------------------------------

Subject: N. How can I get inside the Palazzo Vendramin in Venice?

Richard Wagner and his family moved into the Palazzo Vendramin-Calergi on
the Grand Canal on 18 September 1882.  It was there that Wagner died on 13 
February 1883.  

Palazzo Vendramin now houses the local Casino. Wagnerians visiting Venice
who wish to visit the "Wagner rooms" must make an appointment in advance.
The following are the visiting arrangements at present. They might be
changed at any time without notice.

You can only visit the rooms on Saturday at 10 a.m. precisely, if and only
if you have made an appointment prior to noon the Friday before. To do this
you must telephone (+39) (41) 52-32-544 and speak (in Italian) to Signora
Pugliese.

Note! You will not be admitted if you turn up on Saturday without an
appointment, nor will you be admitted if you arrive later than 10 a.m.

There is no information about visiting the Wagner rooms at the main door of
the Palazzo at the "calle larga Vendramin"; but outside the main door there
is a small sign with an arrow showing the way to the "staff entrance". This
is two minutes (one block) away at the "calle Vendramin". At the staff
entrance there should be a porter to assist visitors.



------------------------------

Subject: O. What is the difference between the 'Liebestod' and 'Isolde's
     Transfiguration'?

The ending of 'Tristan und Isolde' is often, wrongly, called the 'Liebestod'
(Love-death). Wagner himself referred to it as 'Isolde's Transfiguration'
and he applied the term 'Liebestod' not to the end of the drama, but to the
prelude to the first act. See Wagner's letter to Weissheimer of 5 October
1862, in which he proposed to make a concert-piece from the 'Liebestod'
followed by the 'Transfiguration'.


------------------------------

Subject: P. When can I applaud at a performance of 'Parsifal'?

When 'Parsifal' was first performed at Bayreuth in 1882 there was some
confusion about when to applaud.  At the end of the second act there was
much applause and shouting, at which Wagner got up in his box and called
out to the audience that he had asked for no curtain calls until the end
of the performance.  At the end there was silence until Wagner got up and
said that he had not meant that they could not applaud, after which there
was enthusiastic applause and confused curtain calls.  By the second 
performance various accounts of what he had said were circulating.  Many 
thought that Wagner had asked for no applause until the end of each 
performance and therefore the first two acts were received in silence 
(except for Wagner himself shouting "bravo" at the departing Magic Maidens, 
for which he was hissed).  At the third and subsequent performances there
was no applause at the end of the first act but applause after the second
and third acts.  This became a Bayreuth tradition that continues to this
day.  Wagner gave the custom his approval, saying that applause was not
appropriate after the quiet ending of the first act, but the claim that it
was his idea is untrue.

The tradition of not applauding at the end of the first act of 'Parsifal'
is a Bayreuth Festival tradition. Therefore it does not apply in ordinary
opera houses. Sometimes, in some houses, there is a note in the programme
asking for no applause at the end of the first act; but in the absence of
any such request it is entirely up to each member of the audience whether
to applaud at the end of the first or subsequent acts. Please do not hiss
or "shush" those who choose to applaud.   Above all, please do not follow
Wagner's example and shout "bravo" at the end of the scene with the Flower
Maidens!


------------------------------

Subject: Q. What new productions are planned for the Bayreuth Festival?

The following productions have been announced:

 2004 Parsifal
 Conductor: 	Pierre Boulez
 Production: 	Christoph Schlingensief 
 Stage design: 	Thomas Goerge and Daniel Angermayr 
 Costumes: 	Tabea Braun.

 2005 Tristan und Isolde
 Conductor: 	Eiji Oue
 Production: 	Christoph Marthaler
 Stage design and costumes: Anna Viebrock.

 2006 Der Ring des Nibelungen
 Conductor: 	Christian Thielemann; 
 Production: 	Lars von Trier; 
 Stage design: 	Karl Juliusson.

Existing productions are phased out as new ones are introduced.  


------------------------------

Subject: R. Who were the Herodias and Gundryggia referred to in 'Parsifal'?

At the beginning of the second act of 'Parsifal' the sorcerer Klingsor
conjures Kundry out of her death-like sleep, recalling that she has been
both Herodias and Gundryggia.  This is a reference to earlier lives in
Kundry's cycle of existence.

The historical Herodias was the wife of the tetrarch Philip and later of
his brother Herod Antipas. She is mentioned in the New Testament as the
cause of the death of John the Baptist. Herodias and her daughter became
the subject of several poetic and dramatic treatments during the
nineteenth century, including Heine's poem "Atta Troll", Flaubert's
novella "Herodias" and later Wilde's play "Salome". Herodias was
infamous for her incestuous marriage and her contempt for religion, as
Wagner knew from reading Renan's "Life of Jesus". Although she belonged
to the ruling family of Judea, Herodias was neither Jewish by race or by
religion.

The name Gundryggia most likely was invented by Wagner. It is a play on
the name of Gunn, one of the favourite valkyries of Odin (=Wotan). The
connection between Herodias and Gunn is that in different versions of
the same folk tradition, they ride with the Wild Hunt. In Germanic folk
legend Herodias became identified with Frau Holda, who was variously
equated to the goddesses Diana or Venus. The identification with Diana
was recalled by Heine in his "Atta Troll".

------------------------------

Subject: S. Was Beckmesser based on Eduard Hanslick?

The simple answer to this question is "no". Hanslick was not known to
Wagner when he wrote his first Prose Draft of "Die Meistersinger" in
July 1845. The character who in the libretto (of 1862) would be given
the name of Sextus Beckmesser is a caricature of music-critics in
general and it is beyond doubt that one of the music-critics whom Wagner
had in mind when he wrote the libretto was Eduard Hanslick. 

It is widely believed, however, that Beckmesser was a caricature of
Hanslick alone. There are two reasons for this widespread but erroneous
belief. The first of them is that, in the second Prose Draft of October-
November 1861, Wagner gave the name Veit Hanslich to the Marker and Town
Clerk. This was a private joke of which he soon tired, however, and in
the poem or libretto written in January 1862 he gave this character the
name of Beckmesser. The second reason is Wagner's account of a reading
of his poem in Vienna in November 1862 ("My Life" pages 703-4).
According to this autobiographical account, Wagner believed that
Hanslick was in some discomfort at this reading and friends of Wagner
who were present got the impression (according to Wagner; his account
is not corroborated) that Hanslick had seen himself as Wagner's target. 

In late 1846 there appeared in the "Allgemeine Wiener Musikzeitung" a
number of references to Richard Wagner by a young music critic, Eduard
Hanslick. The young man hailed Wagner as "the greatest living dramatic
talent". He sent Wagner his enthusiastic review of "Tannhäuser", for
which Wagner thanked him in a long letter of 1 January 1847. This was
the beginning of a friendship that eventually collapsed under the weight
of differences of opinion about musical aesthetics. Hanslick became
increasingly critical of Wagner, who began to regard the critic if not
as an enemy at least as no longer a friend. Hence the joking renaming of
the Marker as "Veit Hanslich" in the second Prose Draft of "Die
Meistersinger". 

On closer examination there is no reason to believe that Hanslick saw
the poem of "Die Meistersinger" (in which the character was called
Beckmesser, of course) as a personal attack. Indeed there is nothing to
indicate that he knew about "Veit Hanslich". Not even in the account of
the Viennese incident in Hanslick's memoirs (see Spencer's compilation,
"Wagner Remembered", pages 135-138). His supposed reaction to the poem
is a myth of Wagner's invention. 

The myth has been given a new lease of life by Barry Millington, who has
argued that Beckmesser is an anti-Semitic caricature.  The reason for
Wagner to introduce the anti-Semitic references that Millington has
ingeniously decoded is, we are told, that Beckmesser is a caricature of
Hanslick, whom Wagner believed to be of Jewish descent. Those who wish
to read more about this complicated theory are referred to the articles
listed under the answer to Question D above. 



------------------------------

Subject: IV. Where can I find more information?


------------------------------

Subject:  A. Offline sources

The following sources of information can be found in libraries and bookstores.

------------------------------

Subject:    i. What books should every Wagner fan have on their bookshelves?

We suggest the following: 

* At least one of the biographies, such as Millington's (in one volume) or
  Newman's (in four volumes).  None of Wagner's biographers are infallible.
  Both Millington and Newman have their particular angles and prejudices.

* 'Wagner Nights' (UK title) or 'The Wagner Operas' (US title) by Ernest
  Newman.  Useful for information on the sources, text and music of the
  canonical works, but of limited assistance in understanding them.

* Of Wagner's own writings, his 'Opera and Drama' (Oper und Drama) of 1851
  -- online in German at 
  < http://www.gutenberg.aol.de/wagner/operdram/operdram.htm >
  -- and 'The Art-Work of the Future' (Das Kunstwerk der Zukunft) of 1849
  -- online in English at 
  < http://users.belgacom.net/wagnerlibrary/prose/wagartfut.htm >.

* Either Schopenhauer's 'The World as Will and Representation' (Die Welt
  als Wille und Vorstellung), or any introductory text on Schopenhauer's
  philosophy (such as Michael Tanner's 54 page 'Schopenhauer' in the 
  series 'The Great Philosophers' from Phoenix Paperbacks).


------------------------------

Subject:    ii. Wagner's writings

There have been two major editions of Wagner's writings, in German, as
follows: 

* 'Gesammelte Schriften und Dichtungen', 10 volumes, Leipzig 1871-83. The
  first edition of Collected Writings, prepared under RW's direct super-
  vision. 

* 'Sämtliche Schriften und Dichtungen', 16 volumes, Leipzig 1911-1916.
  Currently it is the most complete edition of Wagner's prose and poetry. 

The nearest thing to a complete edition available in English is 'Richard 
Wagner's Prose Works' in 8 volumes. For details, see the Wagner Books FAQ.

English translations of some of Wagner's shorter prose works, together with
letters and articles by Wagner and his close associates, can be found online
at the 'Wagner Library': < http://users.belgacom.net/wagnerlibrary/ >, an
ongoing project of Patrick Swinkels.



------------------------------

Subject:    iii. Wagner's musical compositions

The critical edition of Wagner's musical and dramatic works is:

* 'Sämtliche Werke', 31 volumes, Mainz 1970-.  Editor: Dr. Egon Voss. 

The planned content of this at present incomplete edition is as follows:
  Vol. I:	Die Feen
  Vol. II:	Das Liebesverbot
  Vol. III:	Rienzi
  Vol. IV:	Der fliegende Holländer
  Vol. V:	Tannhäuser (1845-1860)
  Vol. VI:	Tannhäuser (1861-1875)
  Vol. VII:	Lohengrin
  Vol. VIII:	Tristan und Isolde
  Vol. IX:	Die Meistersinger von Nürnberg
  Vol. X:	Das Rheingold	
  Vol. XI:	Die Walküre
  Vol. XII:	Siegfried
  Vol. XIII:	Götterdämmerung
  Vol. XIV:	Parsifal
  Vol. XV:	Unfinished stage works and insertion numbers
  Vol. XVI:	Choral works
  Vol. XVII:	Songs with piano accompaniment
  Vol. XVIII:	Orchestral works
  Vol. XIX:	Keyboard works
  Vol. XX:	Arrangements
  Vol. XXI:	Supplement (diverse)
  Vol. XXII:	Text and documents: Die Feen, Das Liebesverbot
  Vol. XXIII:	Text and documents: Rienzi
  Vol. XXIV:	Text and documents: Der fliegende Holländer
  Vol. XXV:	Text and documents: Tannhäuser
  Vol. XXVI:	Text and documents: Lohengrin
  Vol. XXVII:	Text and documents: Tristan und Isolde
  Vol. XXVIII:	Text and documents: Die Meistersinger von Nürnberg
  Vol. XXIX:	Text and documents: Der Ring des Nibelungen
  Vol. XXX:	Text and documents: Parsifal
  Vol. XXXI:	Stage works without music

For books about Wagner's works, see the Wagner Books FAQ, section IV.


------------------------------

Subject:    iv. Diaries of Richard and Cosima Wagner

The publication of diaries by Cosima Wagner, that had long been suppressed
by the Wagner family, has greatly increased our knowledge of Richard and
Cosima Wagner and their life together. Also Richard's own diaries/
notebooks are of interest. The Wagner diaries are the following: 

* 'Die Rote Brieftasche' in 'Sämtliche Briefe', ed. G. Strobel and W. Wolf,
  1967. Wagner's Red Pocketbook, containing his autobiographical notes for 
  the years 1835 to 1839. Notes from later years were included in the 
  'Brown Book' as the 'Annals'. 

* 'Das Braune Buch: Tagebuchaufzeichnungen, 1865 bis 1882', ed. Joachim
  Bergfeld, 1975. Wagner's diary and notebook, which he used at various 
  times between 1865 and 1882. English translation by George Bird, 1980, 
  as 'The Brown Book'. 

* 'Cosima Wagner: Die Tagebücher' 1869-1883, 2 vols. hardback, 4 vols.
  paperback. Edited by Martin Gregor-Dellin and Dietrich Mack, 1976-77. 
  English translation in 2 volumes by Geoffrey Skelton, 1978-1980; out of 
  print, but a condensed version is available in one volume. 

Details of English editions of the above are given in the Wagner Books FAQ.

------------------------------

Subject:    v. Letters to and from Richard Wagner

RW was an active correspondent, often writing several letters a day. It
has been estimated that he wrote over 10,000 letters during his lifetime.
Unfortunately, Cosima Wagner destroyed many unpublished letters, including
the originals of Richard's letters to Mathilde Wesendonck, Nietzsche's
letters to Cosima, Peter Cornelius' letters to Richard, and all of the
correspondence with Hans von Bülow in the period preceding and immediately
after their divorce. In 1909 she even burned many of Richard's letters to
herself.  Wagner himself destroyed letters from Judith Gautier.

Many of Wagner's letters have been published, usually in a separate volume
for each correspondent; for example, the letters between RW and Mathilde
Wesendonck (an important resource for students of 'Tristan', 'Die Sieger'
and 'Parsifal') were published in Berlin, 1904, with an English
translation (by Ellis) of them published in London, in 1905. Also
important is the collection of correspondence between RW and his patron,
King Ludwig II of Bavaria, 5 vols., edited by Otto Stroebel and published
1936-39, Karlsruhe.

In 1967, work began on a complete edition of the existing letters in their
original languages.  At that time, the editors anticipated an edition of
fifteen volumes, but in the introduction to volume 6, they revised their
estimate to 30 volumes, containing between 7000 and 7500 letters.  The 
project is now being led by Dr. Werner Breig.

More than 500 letters in English translation have been edited by Stewart
Spencer and Barry Millington. 


------------------------------

Subject:    vi. Wagner-related periodicals

There are few periodicals dedicated to Wagner studies. One of them is,
appropriately, entitled 'Wagner'. It is published three times each year by
the Wagner Society of the UK. Most Wagner Societies also publish their own
newsletter; that of the UK Society has the title, 'Wagner News'.


------------------------------

Subject:    vii. Sources for Wagner's texts

To save space in this FAQ, information about Wagner's sources has been 
moved to a new document: < http://home.c2i.net/monsalvat/srcdocs.htm >.


------------------------------

Subject:    viii. The Bayreuth Festival

A good general history of the Festival can be found in Frederick Spott's
book, 'Bayreuth: A History of the Wagner Festival', Yale 1994.  

The atmosphere of 19th century Bayreuth was captured in Colette's novel
'Claudine and Annie' (Claudine s'en va), which is included in 'The
Claudine Novels', Penguin USA, 1995. 

Other books about the history of the Bayreuth Festival and productions of
Wagner's stage works at the Festival, can be found in Section VII of the
Wagner Books FAQ.


------------------------------

Subject:  B. On-line sources


------------------------------

Subject:   i. A few good, general Web sites about Richard Wagner

* Richard Wagner Archive < http://users.utu.fi/hansalmi/wagner.spml >
  Hannu Salmi's web site is a comprehensive source of information about RW
  and his works. In English and German. 

* Richard Wagner Web Site < http://www.trell.org/wagner >
  Kristian Evensen's web site contains some fascinating articles. In 
  English, German and Norwegian. 

* Operas and music dramas < http://gla.ecoledoc.lip6.fr/~sarnikow/wagner/ >
  Gilles Sarnikowski's web site includes a short biography of RW, notes on
  the operas and music-dramas, and a discography. In English and French. 


------------------------------

Subject:   ii. Web sites, synopses and online discographies

* There is a general discography of Wagner's operas and dramas (by Jonas 
  Ericsson) at:  
< http://www20.brinkster.com/joentertainment/wagner_discography/welcome.htm >

* Geoffrey Riggs has a web site called 'The Collectors Guide to Opera 
  Recordings and Videos' which provides recommendations for eleven of
  Wagner's operas and dramas: 
  < http://www.geocities.com/Vienna/7023/index.html >

Other sources:

* 'Tristan und Isolde' < http://unchance.net/Liebestod/ >

* 'Ring' < http://allenbdunningmd.com/RingThemes.htm >

* 'Parsifal' < http://home.c2i.net/monsalvat/index.htm >

* There are synopses for several of Wagner's stage works at 
  < http://www.metopera.org/synopses/ >

* For other links, see under Composers - W in the Coordination Opera 
  Resource Pages at < http://www.operabase.com/corpus/ >.


------------------------------

Subject:   iii. Web sites related to the Bayreuth Festival

* Homepage of the Bayreuth Festival at
  < http://www.bayreuther-festspiele.de/fshome_dt.html >
  This is the official homepage with up-to-date information about the 
  Festival;  with booking information, performance dates and casts.

* Bayreuth Festival News at < http://www.festspiele.de/ >
  A lively site maintained by a Bayreuth-based newspaper.

* Bayreuth casts 1876-2001 can be found at
  < http://www.wagnermania.com/bayreuth/ >


------------------------------

Subject:    iv. Wagner Societies

A number of Wagner Societies (each affiliated to the international 
Richard-Wagner-Verband) have their own Web pages, including the following: 

* Finnish Wagner Society - 
  < http://www.utu.fi/~hansalmi/sws/sws.html >

* Richard-Wagner-Verband Berlin - 
  < http://www.wagnerverband-berlin.de/ >

* Richard-Wagner-Verband Frankfurt -
  < http://www.richard-wagner-verband.de/frankfurt.html >

* Richard-Wagner-Verband Hannover -
  < http://www.richard-wagner-verband-hannover.de/ >

* Richard-Wagner-Verband Münster -
  < http://www.richard-wagner-verband.de/muenster.html >

* Netherlands Wagner Society - 
  < http://huizen.dds.nl/~riwagner/ >

* Wagner Society in New South Wales - 
  < http://www.wagner-nsw.org.au/ >

* Wagner Society of New York - 
  < http://www.wagnersocietyny.com/ >

* Wagner Society of New Zealand -
  < http://www.wagnersociety.org.nz/ >

* Wagner Society of Northern California -
  < http://www.wagnersf.org/ > 

* Polish Wagner Society - Towarzystwo Wagnerowskie
  < http://free.art.pl/tw/ >

* Wagner Society of Scotland -
  < http://www.wagnerscotland.net/ >

* Richard Wagner Society of South Australia -
  < http://users.senet.com.au/~wagner/ >

* Swedish Wagner Society - 
  < http://home1.swipnet.se/~w-13826/sws/index.html >

* Swiss Wagner Society - 
  < http://www.desmeisterswerk.ch/srwg.htm >

* Toronto Wagner Society -
  < http://richard_wagner.tripod.com/ >

* Wagner Society of the United Kingdom -
  < http://www.gnomus.flyer.co.uk/index.html >

* Wagner Society of the Upper Midwest -
  < http://www.wagnertc.org/ >

* Richard Wagner Society of Washington, DC - 
  < http://www.wagner-dc.org/ > 

* Richard-Wagner-Verband Würzburg -
  < http://www.wagnerverband.de/ >

------------------------------

Subject:    v. On-line libretti and scores

For libretti (poems), see under the heading 'Richard Wagner' at
  < http://php.indiana.edu/~lneff/libretti.html >

Or at Opera Glass
  < http://opera.stanford.edu/opera/index.html#libretti > 

There are a few of Wagner's libretti (poems) at the German Gutenberg 
Project
  < http://www.gutenberg2000.de/autoren/wagner.htm >.

There are shareware editions of the 'Ring' libretti with Jameson's 
English translation at 
  < http://home.earthlink.net/~markdlew/shw/Ring.htm >.

The following vocal scores can be accessed through the Web:

Der fliegende Holländer: 	
  < http://www.dlib.indiana.edu/variations/scores/bhq6743/index.html >
Das Rheingold:		 	
  < http://www.dlib.indiana.edu/variations/scores/bhr5451/index.html >
Die Walküre:		
  < http://www.dlib.indiana.edu/variations/scores/bhr9607/index.html >		 
Götterdämmerung:	
  < http://www.dlib.indiana.edu/variations/scores/bhr1272/index.html >
Tristan und Isolde:		
  < http://www.dlib.indiana.edu/variations/scores/bhr3456/index.html >


------------------------------

Subject:    vi. Related newsgroups and message boards

Wagner-related postings often appear in rec.music.opera; but be warned
that this newsgroup is notorious for flames, abuse and cat-fights. To read
r.m.o. requires a strong stomach and to post there one needs a thick skin.


------------------------------

Subject:    vii. Museums

Richard Wagner Museum at Haus Wahnfried, Bayreuth, Germany:
< http://www.wahnfried.de/ >

Richard Wagner Museum at Triebschen, Luzern, Switzerland:
< http://www.kulturluzern.ch/wagner-museum/ >


------------------------------

Subject: V. Acknowledgements and Copyright

This FAQ was created by and is maintained by Derrick Everett (mimirswell
@hotmail.com). The editor would like to thank the following individuals
who have helped and contributed to this document: Joe Bernstein, Mike
Scott Rohan and Simon Weil. Also many others who have made helpful
comments and suggestions.

This compilation copyright (C) 2000-2004 by Derrick Everett. ALL RIGHTS
RESERVED. Permission is hereby granted for electronic distribution by non-
commercial services such as internet, provided that it is posted in its
entirety and includes this copyright statement. This document may not be
distributed for financial gain. Any other use, or any commercial use of
this document without permission is prohibited by law. 

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