Universul artistic wagnerian între agape şi eros

Abstract

The love theme connects like an incandescent link all the wagnerian operas, each bringing in a new vision, hypothesis and perspective which has been continuously evolved. Starting from the love vision that unties the curse knot (in The Flying Dutch), Wagner draws the interior map of his own feelings thus marking every step he encounters. Further on, love is presented as a struggle between sensual passion and ideal (in Tannhäuser), love as the seduction of the transcendental (in Lohengrin), love as metaphysical peroration which awakens the thrill of the existentialism  (in Tristan and Isolda), idyllic love (in The Singing Maestros) until finally he accomplishes the synthesis of all these ideologies in the sensual Christianity of Parsifal. Wagner reaches, towards the end of his live, a reconciliation between the chthonic pulses and the idealistic enthusiasm covered by a pessimistic nuance of schopenhaurian Christianity