From the last quarter of the nineteenth century on, the name Bayreuth has stood for the realization of a new kind of musical theater developed by Richard Wagner, which ever since has been recognized as a major contribution to the world’s cultural heritage. For Strauss, both Wagner and Bayreuth were profoundly influential. In his early years, he believed he could see in it the fulfilment of his aesthetic ideals, and accordingly, he sought closeness to the milieu of the idolized “Master.” With increasing maturity, however, it became clear to him that although Wagner was one of the fixed stars in his musical and dramatic thinking, the “Wahnfried ideology” would remain foreign to his nature. As early as his time in Weimar, the “cult of Wagner” seemed to be something alien to Strauss, something he would overcome. In juxtaposition to the formative Bayreuth episode in Strauss’s early years, his two short engagements in 1933–34 take on the dubious appearance of a moral lapse.