In contrast to a writer like Flaubert or a composer like Brahms, who scoffed at the idea of posterity even reading their letters, Wagner regarded his public persona as integral to his life’s work, not unlike Rousseau in the eighteenth century. But while family origins were a stable reference point for Rousseau, the idea of family for Wagner was more brittle. From his birth in Leipzig during unstable events leading to the 1813 Battle of Leipzig to the successful foundation of a family dynasty in Bayreuth in the 1870s, Wagner’s attitude to the nineteenth-century idea of family veered between open rebellion and full-scale adoption of its secrets and habits. I argue in outline for a better understanding of this ambivalence in Wagner’s thoughts and actions, including its consequences for his heirs and their fated relations with the Third Reich.

Wagner’s project for the Festspielhaus in Bayreuth also established ‘the Bayreuth idea’, in which festival visitors were to participate directly in the performances. Initially, an explicit separation of art and politics anchored this separation, yet later ideologies came to influences the Bayreuth circle, and in turn, the Festival itself. Two are examined in this chapter, Houston Stewart Chamberlain (in relation to Cosima), and Adolf Hitler (in relation to Winifred), alongside the Festival in the aftermath of the Second World War.

First mentioned in 1194, Bayreuth became the centre of the rule of the Margraves of Andechs-Merania. The city reached its Baroque heyday in the mid-eighteenth century under the regency of Margraves Friedrich and Wilhelmine, a sister of Friedrich II of Prussia (‘the Great’). After the loss of the margravial residence in 1769 and as a result of the Napoleonic Empire, the city lost its former importance and passes from Prussian to Bavarian rule. The poet Jean Paul (actually Johann Paul Friedrich Richter) lived in Bayreuth from 1804 until his death in 1825. With Richard Wagner’s move to Bayreuth in 1872, the construction of the Festspielhaus, and the founding of the Bayreuth Festival in 1876, the city in the Franconian province becomes the epitome of German culture with international significance and impact – but also a symbol of the ideological claim to Wagner by National Socialism and the Wagnerian Adolf Hitler.

Cosima Liszt, daughter of the composer Franz Liszt and Marie d´Agoult, rushed into an unsuccessful marriage with the composer and conductor Hans von Bülow. She wrote articles and visited cultural highlights in Berlin. In Munich 1864 she engaged in the love affair with Richard Wagner and a year later the child Isolde was born. She married him in 1870 in order to have the birth of Siegfried legalised and asked Bülow for a divorce. Her meticulous diaries of her life with him are a vital biographical source, although in them she perpetuates the traditional narrative of the autonomous male genius. After his death she took over the direction of the Bayreuth Festspiele and developed a style committed to Wagner’s performance practice. She excelled in matters of gesture, fusing singing aesthetic, gesture, and word/music relationship.