Ravello : Villa Rufolo - Moorish courtyard variously decorated with Friezes and Arabesque , on the left Torre Maggiore , originally difensive work , currently with mullioned windows -13 th century.

 

Built in 1300 by the noble Roman family. Rich in banks and ships in Puglia and Sicily.

Landolfo Rufolo is remembered by Boccaccio in the Decameron (4th story - 2nd day).

It then passed to several families, but it was a Scotsman who in 1851 bought it and restored it and made it possible to open it to visitors: his name was Nevil Reid who was a passionate re-enactor of the glories and beauties of Ravello, whom he loved and where he stayed long.

There are many stories related to the villa and its gardens. Among these the best known is the inspiration they gave to Richard Wagner who as soon as he saw them exclaimed: the garden of Klingsor is found. And they also had considerable importance for the inspiration of Parsifal.

 

Costruita nel 1300 dalla nobile famiglia Romana . Ricchissima ,con banche e navi in Puglia e Sicilia .

Landolfo Rufolo è ricordato dal Boccaccio nel Decamerone ( 4° novella -2° giornata ) .

Passò poi a diverse famiglie ,ma fu uno scozzese che nel 1851 la comprò e la restaurò e ne rese possibile l'apertura ai visitatori : il suo nome era Nevil Reid ,fu un appassionato rievocatore delle glorie e delle bellezze di Ravello ,che amava e dove soggiornò a lungo .

Ci sono tante storie legate alla villa e ai suoi giardini . Fra queste la più nota è l'ispirazione che questi diedero a Richard Wagner che appena li vide ,esclamò :Il giardino di Klingsor è trovato ed essi ebbero anche notevole importanza per l'ispirazione del Parsifal .

Le rouge-gorge - Tristan Klingsor

  

Le rouge-gorge est au verger ;

 

Ah ! qu'il est joli, le voleur ;

 

Il ne pèse pas plus que plume

 

Et le vent le balance à son gré

 

Comme une fleur ;

 

Ah ! qu'il est joli, le voleur de prunes.

 

Oiseau, bel oiseau d'automne,

 

Voici l'oseille qui rougit

 

Dans l'herbe,

 

Et la feuille du poirier jaune ;

 

Tout se couvre de pourpre et de vieil or superbe

 

Avant l'hiver gris.

 

Et, c'est l'ogre de la forêt, je crois,

C'est le jeune ogre rouge, gourmand et futé,

Monseigneur l'écureuil,

Qui les a croquées

 

Tristan Klingsor

(1874 - 1966)

Ravello, high on the Amalfi Coast, Italy

The view from the gardens of Villa Rufolo in Ravello, Italy

A origem do Convento de Nossa Senhora da Pena, implantado num dos cumes mais elevados da Serra de Sintra, perde-se na noite dos tempos. O interesse pelo local onde hoje se ergue majestosamente o Palácio da Pena remonta à época Medieval, altura em que segundo a tradição, teria ocorrido uma aparição da Virgem, tendo-se aí edificado então uma pequenina ermida dedicada a Nossa Senhora da Pena, na qual, por ordem de D. João I, os priores da Igreja de Santa Maria de Sintra celebravam missa todos os sábados. A devoção régia a este orago encontra-se bem documentada. Em 1493, veio D. João II a esta ermida com D. Leonor, sua mulher, pagar um voto à Senhora da Pena, mas foi D. Manuel I quem lhe dedicou especial afeição. Por sua ordem, no ano de 1503, efetuaram-se terraplanagens e edificou-se, um acrescento a ermida. Também D. João III e D. Catarina expressaram aqui os seus votos.

 

O impressionante e surrealista Palácio da Pena em Sintra, foi uma das principais residências da família real Portuguesa durante o século XIX, e é um dos melhores exemplos do estilo romântico em Portugal. Por ter sido residência de verão da realeza, encontram-se no seu interior numerosas coleções reais que se trasladaram para o palácio e ao mesmo tempo foram criados ricos ornamentos, desde os célebres revestimentos de tapeçaria até às paredes pintadas a óleo. O palácio é uma das razões pela qual Sintra foi declarada Património da Humanidade pela UNESCO, este assenta sobre grandes penhascos no monte da Pena e foi construído no lugar onde se encontrava um antigo convento de frades da Ordem de São Jerónimo. Apresenta uma mistura de estilos arquitetónicos totalmente intencional. Podem-se encontrar elementos pertencentes ao neogótico, neomanuelino, neoislâmico, neorrenascentista e em menor escala à arquitetura colonial. Isto deve-se ao facto da mentalidade romântica do século XIX se encontrar enormemente fascinada por tudo o que era exótico.

 

Dentro do palácio há várias divisões decoradas, como os salões e os quartos reais tal como eram há dois séculos atrás, apesar de infelizmente não ser possível tirar fotografias. No palácio há muitos lugares a partir dos quais se podem ter vistas fantásticas de Sintra e arredores, como os seus belos jardins que são sem dúvida um lugar recomendado para visitar. O Palácio Nacional da Pena localiza-se na vila de Sintra, freguesia de São Pedro de Penaferrim, concelho de Sintra, no distrito de Lisboa. Representa uma das melhores expressões do Romantismo arquitetónico do século XIX no mundo, constituindo-se como o primeiro palácio neste estilo em toda a Europa, erguido cerca de 30 anos antes do carismático Castelo de Neuschwanstein, na Baviera, Alemanha.

 

Em 7 de Julho de 2007 foi eleito como uma das Sete maravilhas de Portugal. A primitiva ocupação do topo escarpado da serra de Sintra onde se localiza o atual Palácio ocorreu com a construção de uma pequena capela dedicada a Nossa Senhora da Pena, durante o reinado de João II. No século XVI, Manuel I de Portugal no cumprimento de uma promessa, ordenou a sua reconstrução de raiz. Doou-a à Ordem de São Jerónimo, determinando a construção de um convento de madeira, e substituindo-o um pouco mais tarde, por um edifício de cantaria, com acomodações para 18 monges. No século XVIII a queda de um raio destruiu parte da torre, capela e sacristia, danos que foram agravados com a decorrência do terramoto de 1755, que deixou o convento em ruínas, apenas a zona do altar-mor na capela, com um magnífico retábulo em mármore e alabastro atribuído a Nicolau de Chanterenne, permaneceu intacta.

 

No século XIX a paisagem da serra de Sintra e as ruínas do antigo convento maravilharam o Rei-consorte Fernando II de Portugal, que em 1838 decidiu adquirir o velho convento, toda a cerca envolvente, o Castelo dos Mouros bem como quintas e matas circundantes. No que dizia respeito à área do antigo convento, promoveu-lhe diversas obras de restauro, com o intuito de fazer do edifício a sua futura residência de Verão. O novo projeto foi encomendado ao mineralogista germânico Barão von Eschwege, arquiteto amador. Homem viajado, Eschwege, que nascera em Hessen, deveria conhecer pelo menos em forma de projeto, as obras que Frederico Guilherme IV da Prússia empreendera com o concurso de Schinkel nos Castelos do Reno, tendo passado em viagem de estudo por Berlim, Inglaterra, França, Argélia e Espanha. Em Sintra, os trabalhos decorreram rapidamente e a obra estaria quase concluída em 1847, segundo o projeto do Alemão, mas com intervenções decisivas ao nível dos detalhes decorativos e simbólicos do Rei-consorte. Muitos dos detalhes, no plano construtivo e decorativo, ficaram a dever-se ao eclético e exótico temperamento romântico do próprio monarca que, a par de arcos ogivais, torres de sugestão medieval e elementos de inspiração árabe, desenhou e fez reproduzir na fachada norte do Palácio, uma imitação do Capítulo do Convento de Cristo em Tomar.

 

Após a morte de D. Fernando, o palácio foi herdado pela sua segunda esposa, Elisa Hendler, Condessa de Edla, o que à época gerou grande controvérsia pública, dado que se considerava já o histórico edifício como um monumento Nacional. A viúva de D. Fernando procurou então chegar a um acordo com o Estado Português e recebeu uma proposta de compra por parte de Luís I de Portugal em 1889 em nome do Estado, que aceitou, reservando então para si apenas o Chalé da Condessa, onde continuou a residir. Com essa aquisição, o Palácio passou para o património nacional português, integrando o património da Coroa. Durante o reinado de Carlos I de Portugal, a Família Real ocupou com frequência o Palácio, tornando-se a residência predileta da Rainha D. Amélia, que se ocupou da decoração dos aposentos íntimos. Aqui foi servido um almoço à comitiva de Eduardo VII do Reino Unido, aquando da sua visita oficial ao país, em 1903.

 

Após o regicídio, a Rainha D. Amélia retirou-se ainda mais para o Palácio da Pena, rodeada das amigas e dos seus cães de estimação. Aqui recebia com alguma frequência a visita do filho, Manuel II de Portugal, que nele tinha os seus aposentos reservados. Quando rebentou a revolta de 4 de Outubro, em 1910, D. Amélia aguardou na Pena o evoluir da situação, chegando a subir aos terraços com a sua comitiva para observar sinais dos combates em Lisboa. No dia seguinte, partiu ao encontro de D. Manuel, em Mafra, voltando na mesma tarde ao Palácio da Pena, onde passou a noite de 4 para 5 de Outubro, a última que passou em Portugal antes da queda da Monarquia. No dia seguinte, conhecido o triunfo da República, partiu de novo para Mafra, ao encontro do filho e da sogra, de onde partiriam todos para o exílio. Com a implantação da República Portuguesa, o palácio foi convertido em museu, com a designação oficial de Palácio Nacional da Pena. Em 1945, a rainha D. Amélia, de visita a Portugal, voltou ao Palácio da Pena, onde pediu para estar sozinha durante alguns minutos, era o seu Palácio predileto. Atualmente o Palácio da Pena constitui um dos mais deslumbrantes estabelecimentos museológicos do País, encontrando-se tanto o imóvel, como o seu recheio, praticamente intactos.

 

«Hoje é o dia mais feliz da minha vida. Conheço a Itália, a Sicília, a Grécia e o Egipto, e nunca vi nada, nada, que valha a Pena. É a coisa mais bela que tenho visto. Este é o verdadeiro jardim de Klingsor e, lá no alto, está o Castelo do Santo Graal.» - Richard Strauss.

 

A Lenda das pegas

 

No Palácio Nacional de Sintra existe uma sala cujo teto está pintado com diversos desenhos de pegas. Diz-se que o Rei e a Rainha que lá viviam nessa época fizeram casar mais de um cento de mulheres, entrando na conta as que com ele próprio se tinham casado, seguindo tão bons exemplos. Não havia uma ligação ilícita, nem um adultério conhecido, a corte era como uma escola. D. Filipa, pregando ao peito o seu véu de esposa casta, com os olhos levantados ao céu, não perdoava, era terrível na sua mansidão e trazia o marido sobre um domínio espinhoso. Certo dia, segundo reza a lenda, o Rei esqueceu-se do seu dever e furtivamente pregou um beijo na face de uma das aias, quando nisto apareceu de imediato acusadora e grave a Rainha casta e loira, sem dizer uma palavra, mas com um ar medonho de reprovação. D. João, sem jeito e titubeando, disse-lhe uma tolice: "Foi por bem!". A rainha saiu solenemente sem responder. Eram ciúmes? Não, ciúmes só sente quem está apaixonado, e não me parece que fosse o caso. Apenas sentia o seu orgulho ferido.

 

Rapidamente a notícia espalhou-se pelo palácio, e toda a criadagem andava com a frase "Foi por bem" na boca. Chateado com a situação, o Rei decidiu tomar uma iniciativa, mandou construir uma sala para a criadagem. Todos ficaram radiantes contando os dias que faltavam para a sala estar pronta. Finalmente chegou o dia, iam conhecer a sala. Qual não foi o espanto de todos ao verem que o teto da tal sala estava todo pintado com pegas, que tinham escrito no bico "Pour Bien". (traduza-se por bem). Ora digam lá se as lendas não são uma coisa maravilhosa com capacidade de se adaptarem a todos os tempos…

 

A Lenda do jardim da Lindaria.

 

O palácio da pena está rodeado de belos jardins, e um deles é o jardim da lindaria que segundo a lenda era o local para onde as mouras vinham sempre que saiam do banho, respirar a frescura do ar e o perfume embalsamado das flores. Uma dessas mouras enfeitiçou-se de amores por um cristão que ali escondido a observava. O seu marido, ao descobrir tal traição de imediato a, matou. Diz a lenda que ainda hoje, todas as noites a moura volta ao jardim em busca do cristão por quem se apaixonou, e que jamais terá sossego enquanto não o encontrar.

 

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The composer had been so taken with the beauty of the Villa Rufolo in Ravello that he is said to have proclaimed, in reference to a character in his own opera Parsifal, "Here is the enchanted garden of Klingsor."

 

It's hard not to agree!

 

Villa Rufolo - Ravello - Amalfi Coast

.

"Die Klingsor Zaubergarten is gefunden!" Richard Wagner, in vacanza a Ravello nel 1880, di fronte ai giardini di Villa Rufolo, disse “il magico Giardino di Klingsor è trovato!”, decidendo di ambientare proprio qui il secondo atto del “Parsifal”.

.

[ It was in May 1880 that #Wagner visited Ravello and discovered the enchanted garden of #Klingsor as he had imagined it for his opera #Parsifal.]

Ravello, Italy

Die Villa wurde von der einflussreichen und wohlhabenden Familie Rufolo im 13. Jahrhundert errichtet. Die Rufolo stammten ursprünglich aus Rom und besaßen eigene Schiffe und Banken in Apulien und auf Sizilien. Im 14. Jahrhundert war König Robert von Anjou Gast in der Villa. Diese ging danach durch die Hände weiterer Familien wie den Confalone, Muscettola und den d'Afflitto.

Im Jahr 1851 wurde die Villa an den schottischen industriellen Francis Neville Reid verkauft, welcher eine grundlegende Umgestaltung vornahm. In dieser Form sind die Villa und der Garten noch heute zu besichtigen.

 

In den Gärten der Villa fand Richard Wagner 1880 die Inspiration für das Bühnenbild des 2. Aktes (Klingsors Zaubergarten) seiner Oper Parsifal. Auch andere Musiker wie Edvard Grieg und Giuseppe Verdi waren von den Gärten beeindruckt. (wikipedia)

Palácio da Pena

Sintra

 

" Hoje é o dia mais feliz da minha vida. Conheço a Itália, a Grécia, o Egipto, e nunca vi nada comparável à Pena. Este é o verdadeiro Jardim de Klingsor e lá no alto está o castelo do Santo Graal."

 

Richard Strauss

Sintra is a town and municipality in the Greater Lisbon region of Portugal, located on the Portuguese Riviera. The population of the municipality in 2011 was 377,835, in an area of 319.23 square kilometres (123.26 sq mi). Sintra is one of the most urbanized and densely populated municipalities of Portugal and hosts several cities albeit the seat of the municipality is the town of Sintra proper. A major tourist destination famed for its picturesqueness, the municipality has several historic palaces, castles, scenic beaches, parks and gardens.

The area includes the Sintra-Cascais Nature Park through which the Sintra Mountains run. The historic center of the Vila de Sintra is famous for its 19th-century Romanticist architecture, historic estates and villas, gardens, and royal palaces and castles, which resulted in the classification of the town as a UNESCO World Heritage Site. Sintra's landmarks include the medieval Castle of the Moors, the romanticist Pena National Palace and the Portuguese Renaissance Sintra National Palace.

Sintra is one of the wealthiest and most expensive municipalities in both Portugal and the Iberian Peninsula as a whole It is home to one of the largest foreign expat communities along the Portuguese Riviera and consistently ranks as one of the best places to live in Portugal The earliest remnants of human occupation were discovered in Penha Verde: these vestiges testify to an occupation dating to the early Paleolithic. Comparable remnants were discovered in an open-air site in São Pedro de Canaferrim, alongside the chapel of the Castelo dos Mouros (Moorish Castle), dating back to the Neolithic, and include decorated ceramics and microlithic flint utensils from the 5th millennium BC.

Ceramic fragments found locally including many late Chalcolithic vases from the Sintra mountains suggest that between the fourth and third millennia B.C. the region (adjacent to the present village of Sintra) was occupied by a Neolithic/Chalcolithic settlement, with characteristics comparable to fortified settlements in Lisbon and Setúbal. The evidence discovered in Quinta das Sequoias and São Pedro de Canaferrim contrasts dramatically with those remnants discovered in the walled town of Penha Verde and the funerary monument of Bella Vista. Traces of several Bronze Age remains were also discovered in many places in the Sintra Mountains, including alongside the town, in the Monte do Sereno area, and a late Bronze Age settlement within the Moorish Castle dating to the 9th–6th centuries B.C.

The most famous object from this period is the so-called Sintra Collar, a middle Bronze Age gold neck-ring found near the city at the end of the nineteenth century, which since 1900 has been part of the British Museum's collection. Relatively close by, in Santa Eufémia da Serra, is an Iron Age settlement where artifacts from indigenous tribes and peoples of Mediterranean origins (principally from the Punic period) were also discovered.

These date from the early 4th century B.C., prior to the Romanization of the peninsula, which in the area of Foz do Tejo took place in the middle of the 2nd century B.C. Close proximity to a large commercial centre (Olisipo) founded by the Turduli Oppidani people in the first half of the first millennium B.C., meant that the region of Sintra was influenced by human settlement throughout various epochs, cultures that have left remains in the area to this day. The toponym Sintra derives from the medieval Suntria, and points to an association with radical Indo-European cultures; the word translates into "bright star" or "sun", commonly significant in those cultures Marcus Terentius Varro and Cadizian Lucius Junius Moderatus Columella designated the place "the sacred mountain" and Ptolemy referred to it as the "mountains of the moon"

Part of the Roman Dam of Belas complex, showing the ventilation structures (foreground) and the remaining dam segment (background).

During the Roman occupation of the peninsula, the region of Sintra was part of the vast Civitas Olisiponense which Caesar (around 49 B.C.) or more likely Octavius (around 30 B.C.) granted the status of Municipium Civium Romanorum. The various residents of the region were considered part of the Roman Galeria and in the present village of Sintra there are Roman remains testifying to a Roman presence from the 1st–2nd centuries B.C. to the 5th century A.D. A roadway along the southeast part of the Sintra Mountains and connected to the main road to Olisipo dates from this period.

Roman Bridge of Catribana.

This via followed the route of the current Rua da Ferraria, the Calçada dos Clérigos and the Calçada da Trindade. Following the Roman custom of siting tombs along their roads and near their homes, there is also evidence of inscriptions pertaining to Roman funeral monuments, dating mainly to the 2nd century. The area around the modern town of Sintra, due to its proximity to Olisipo, the ancient name of Lisbon, was always profoundly interconnected with the major settlement, to the point that the Fountain of Armés, a 1st-century fountain in the village of Armés, Terrugem, in Sintra, has been built by Lucius Iulius Maelo Caudicus, an Olisipo flamen, to honour the Roman Emperor Augustus.

It was during the Moorish occupation of Sintra (Arabic: Xintara‎) that Greco-Latin writers wrote of the explicit occupation of the area of the town centre. A description by the geographer Al-Bacr, described Sintra as "one of the towns that [are] dependent on Lisbon in Al-Andalus, in proximity to the sea", characterizing it as "permanently submersed in a fog that never dissipates".

During the Reconquista (around the 9th century), its principal centre and castle were isolated by Christian armies. Following the fall of the Caliphate of Córdoba, the King of Léon, Alfonso VI received in the spring of 1093, the cities of Santarém, Lisbon and the Castle of Sintra. This followed a period of internal instability within the Muslim taifas of the peninsula, and in particular the decision by the ruler of Taifa of Badajoz, Umar ibn Muhammad al-Mutawakkil who, after hesitating from 1090 to 1091, placed his territory under the suzerainty of Alfonso VI when faced with the threat of the Almoravids. Afonso took the cities and the castle of Sintra between 30 April and 8 May 1093, but shortly after their transfer Sintra and Lisbon were conquered by the Almoravids. Santarém was saved by Henry, who Alfonso VI of León and Castile nominated Count of Portugal in 1096, to replace Raymond of Burgundy

The remnants of the chapel of São Pedro de Canaferrim, constructed by Afonso Henriques following the surrender of Moors in Sintra

In July 1109, Count Henry reconquered the Castle of Sintra This was preceded a year before by an attempt by Prince Sigurd the Crusader, son of Magnus III of Norway, to capture the castle from the Moors in the course of his trek to the Holy Land. Sigurd's forces disembarked at the mouth of the Colares River but failed to take the castle. But it was only after the conquest of Lisbon, in October 1147, by Afonso Henriques (supported by Crusaders), that the castle surrendered definitely to the Christians, in November. It was integrated into Christian dominions along with Almada and Palmela after their surrender. Afonso Henriques established the Church of São Pedro de Canaferrim within the walls of the Moorish Castle to mark his success.

The municipal building of Sintra, constructed after 1154 to house the local administration

On 9 January 1154, Afonso Henriques signed a foral ("charter") for the town of Sintra, with all its respective regalia. The charter established the municipality of Sintra, whose territory encompassed a large area, eventually divided into four great parishes: São Pedro de Canaferrim (in the castle), São Martinho (in the town of Sintra), Santa Maria and São Miguel (in the ecclesiastical seat of Arrabalde). The early municipal seat, the town of Sintra, was the centre of a significant Sephardic community, with a synagogue and quarter. This community was not limited to Sintra town: enclaves are mentioned during the reign of King Denis in Colares, but were heavily pressured by the influx of Christian serfs. Throughout the 12th and 13th centuries, owing to the fertility of the land, various convents, monasteries and military orders constructed residences, estates, water-mills and vineyards. There are municipal records from this period of a number of donations and grants; between 1157 and 1158, Afonso Henriques donated to the master of the Knights Templar, Gualdim Pais, various houses and estates in the centre of Sintra.

In 1210, the Monastery of Santa Cruz in Coimbra acquired four houses in Pocilgais, releasing them in 1230, while in 1264 it controlled homes and vineyards in Almargem. In 1216 the Monastery of São Vicente de Fora (Lisbon) also held a vineyard in Colares and, in 1218, estates in Queluz and Barota. At some time between 1223 and 1245, the Monastery of Santa Maria de Alcobaça held various privileges in the territory. The military Order of Santiago owned an estate in Arrifana in 1260 Many of Afonso Henriques' donations in the 12th century, including privileges assigned to these institutions, were confirmed in 1189 by his son, Sancho I (1185–1211), corresponding to a social, political and economic strategy during the post-Reconquista era. Consequently, after 1261, Sintra had a local administration consisting of an alcalde representing the Crown, and two local judges elected by the public. During the political conflict between King Sancho II (1223–1248) and the Church, the churches of São Pedro and São Martinho, which belonged to the King, were ceded to the Bishop of Lisbon and Sé. Yet the Crown's patrimony was defined early: in 1287, King Denis donated to Queen Elizabeth of Portugal the town, the signeurial holdings and all their associated benefits. Later, these lands were transferred to the young Infante Afonso (later King Afonso IV), and remained in his possession until 1334, before reverting to the ownership of the queen (Portuguese: Casa da Rainha).

The Black Death arrived in Sintra in the 14th century; in 1350, the disease is known to have caused the death of five municipal scribes. Far greater numbers of deaths probably resulted, perhaps owing to the cool climate and humidity, conditions that favoured the rapid spread of the disease

The Palace of Sintra, for a long time the residence of royal family during the summer

During the reign of King Ferdinand (1367–1383), Sintra played a part in the controversial marriage of the monarch to Dona Leonor Telles de Menezes. In 1374, the King donated Sintra to the Lady Telles, whom he eventually married in secret in the north of the country. Along with Sintra the King conceded the municipalities of Vila Viçosa, Abrantes and Almada, to the consternation of his private council; following a confrontation the King abandoned his duties and travelled to Sintra, where he remained for a month on the pretext of hunting. As Sintra was located relatively close to Lisbon, many of its people were called to work on projects for the Crown in the capital: in 1373, King Ferdinand decided to wall the city, and requested funds or workers from coastal lands in Almada, Sesimbra, Palmela, Setúbal, Coina, Benavente and Samora Correia, as well as all of Ribatejo, and from the inland areas of Sintra, Cascais, Torres Vedras, Alenquer, Arruda, Atouguia, Lourinhã, Telheiros and Mafra. During the Dynastic Crisis between 1383–1385, Sintra joined Leonor Telles in supporting the proclamation of her daughter, Beatrice, who married John I of Castile, as Queen of Portugal and Castile. After the defeat of the Castilian army at Aljubarrota (August 1385) by Portuguese and English troops, commanded by Nuno Álvares Pereira, Sintra became one of the last places to surrender to the Master of Aviz, later King of Portugal (after 1383).

Joanine and Philippine era

John I (1385–1433), first King of the second dynasty, broke the tradition of transferring Sintra to the Casa da Rainha (Queen's property). Probably around 1383, John I granted the lands of Sintra to Count Henrique Manuel de Vilhena, quickly revoking the decision after Henrique took the Infanta's side during the dynastic quarrel. Sintra, therefore, continued as a possession of the King, who expanded the local estate. Until the end of the 17th century, the royal palace constituted one of the principal residences and summer estates of the court: it was from here that John decided to conquer Ceuta (1415); King Afonso V was born and died at the palace (1433–1481); and here King John II (1481–1495) was acclaimed sovereign.

In a document issued in 1435 by King Edward (1433–1438), the region was described as: "A land of good air and water and of the Comarcas with an abundance in the sea and land [...] our most loyal city of Lisbon being so near, and being in it sufficient diversions, and the distractions of the mountains and hunting...".

During the Portuguese Age of Discovery, several people born in Sintra were written into history. In 1443 Gonçalo de Sintra, squire in the House of the Infante Henry, was sent by the prince as captain of a caravel to the coast of Africa. He explored the region near the Ouro River and eventually died there in 1444. Pedro de Sintra and Soeiro da Costa later mapped most of the Atlantic coast of Africa, around the time of Henry's death in 1460

At the end of the 15th century the importance of Sintra on official itineraries led Queen Eleanor of Viseu (wife of King John II), then principal benefactor of the Portuguese Misericóridas, to expand her principal institutions in Sintra. The Hospital e Gafaria do Espírito Santo, the only remnant of which left standing is a chapel to São Lázaro, was constructed to provide assistance and support to lepers in the region (the chapel still includes the signets of King John, the pelican, and Queen Leonor, the shrimp). In 1545, the hospital was transferred to the administration of the Santa Casa da Misericórdia of Sintra which was set up by Queen Catherine of Austria, wife of John III.

King Manuel I (1495–1521) enjoyed spending his summers in Sintra, due to its cool climate and abundance of game; as Damião de Góis, his chronicler noted: "because it is one of the places in Europe that is cooler, and cheerful for whichever King, Prince or Master to pass their time, because, in addition to its good airs, that cross its mountains, called by the older peoples the promontory of the moon, there is here much hunting of deer and other animals, and overall many and many good trout of many type, and in which in all of Hispania there can be found, and many springs of water...". Between the 15th and 16th century, after travelling to the Crown of Castile and the Crown of Aragon when being considered as heir to the Kingdoms in 1498, the King transformed and enriched the town and its region with several public works. These included the reconstruction of the old Gothic Church of São Martinho and in 1511 the construction of the Monastery of Nossa Senhora da Pena on the highest peak of the Sintra Mountains, which he then transferred to the Order of Saint Jerome. In the second half of the 16th century, Sintra was a centre for courtesans and members of the aristocracy began building estates and farms within the region. In this rural environment, from 1542, the Viceroy of India, D. João de Castro(1500–1548) began residing at Quinta da Penha Verde, where he collected examples of Portuguese culture of the time, including works by celebrated artist Francisco de Holanda. It was during this cultural Renaissance that the marble chancel sculpted between 1529 and 1532 by Nicolau Chanterene for the chapel of the Monastery of Nossa Senhora da Pena was completed, as was the portico of the Church of Nossa Senhora da Conceição da Ulgueira (1560).

The Convent of the Capuchos, the monastic retreat established during the primordial history of the municipality (XVI century)

Luís de Camões (1524–1580) referred to the mountains of Sintra in his Os Lusíadas chronicle, as a mythic land ruled by water nymphs. The Renaissance poet Luisa Sigea—Syntrae Aloisiae Sygeae in Paris (1566) and Madrid (1781) referred to Sintra as a "pleasant valley, between cliffs that rise into the heavens...curved in graceful hills among which one can feel the murmur of the waters...[where] everything, in fact, will enchant and perfume the environment with its fragrance and fruit.

With the death of the Cardinal-King Henry (1578–1580), Philip II of Spain inherited the Kingdom of Portugal, initiating a personal union of the crowns that would last until 1640. During this period, Portuguese political power moved from Sintra to Vila Viçosa, principal centre of the House of Braganza, whose dukes, descendants of John of Portugal, were heirs to the throne of Portugal. Following the decision of the Cortes of Tomar in 1581, Phillip as King of Portugal accepted an administration composed of the Portuguese aristocracy. He passed through Sintra around October 1581, visiting the monasteries and churches. It was during this period that cult of Sebastianism, the hope for the return of King Sebastian, came to an end, when several fake "Sebastians" were denounced. In 1585 Mateus Alvares, born on the island of Terceira in the Azores and guardian of the hermitage of São Julio, passed himself off as King Sebastian and created conflict in Sintra, Madra, Rio de Mouro and Ericeira. The Sebastian adventure ended with the hanging of thirty people and the suffering of many more. It was not surprising, therefore, that the visit in 1619 by King Phillip IV of Spain (Phillip III of Portugal) resulted in many families escaping to the hills. During this union (1580–1640), Sintra was a privileged place for Portuguese "exiles" from the Castilian court; nobles who wished to distance themselves from Spanish nobility would purchase lands in the region, away from court intrigu.

Royal Palace of Queluz.

The war with Spain (1640–1668), the affirmation of Mafra during the reign of John V of Portugal (1706–1750) through the construction of the Palace-Convent, and later the construction of Royal Palace of Queluz in 1747 during the reigns of Joseph I (1750–1777) and Maria I (1777–1816), helped diminish royal visits to the region. During this time there were only two documented visits: in 1652 and 1654, respectively the visit of Queen Luísa de Gusmão and King John IV (1640–1656), and the final burial of King Afonso VI.

Ill-fated king Afonso VI imprisoned in the Palace of Sintra, by painter Alfredo Roque Gameiro.

Alleging the insanity of the King and the incapacity of the heir, the Duke of Cadaval and the Infante Peter led a coup d'état in 1667 which resulted in the resignation of the Count of Castelo Melhor, Minister of King Afonso VI (1656-1683) and the imprisonment of the monarch. In 1668 the Cortes of Lisbon confirmed the Infante Peter, the king's brother, as regent and heir. Afonso VI lived the rest of his life imprisoned, in the Paço da Ribeira (1667–1669), in the Fortress of Saint John the Baptist in Angra, in the Azores (1669–1674) and in the end, with the discovery of a conspiracy to kill the regent, in the Paço da Vila in Sintra (1674–1683).

From the 17th to the 18th centuries, the region was centre of contemplative religious orders who established convents in Sintra. But it remained a place of myths, with a large, mysterious forest and macabre, gloomy spaces. Father Baião, in his Portugal Cuidadoso (1724) noted: "Next to the Palace of Sintra was a forest, so thick, that during the day, it cast fear in him who entered it. And [King] D. Sebastian was free from these fears, that he would walk at night, through it, many times for two or three hours." Starting in the second half of the 18th century and lasting through the 19th century Sintra became known as a nostalgic and mysterious location described by many foreigners.

Lord Byron (1788 – 1824) particularly enjoyed his stay in Sintra that is described in Childe Harold's Pilgrimage as "glorious Eden".

It was the Romantic Lord Byron's "glorious Eden"; Almeida Garrett's "pleasant resort"; Eça de Queirós's "nest of lovers [where, in] the romantic foliage, the nobles abandoned themselves in the hands of the poets"; or the place where Richard Strauss saw a garden "comparable to Italy, Sicily, Greece or Egypt, a true garden of Klingsor, and there in the heights, a castle of the Holy Grail".

The 1755 Lisbon earthquake, meanwhile, caused the destruction of the centre of Sintra as well as a number of deaths, resulting in building and restoration in the second half of the 18th century. Also in the 18th century, the first industrial building was established in the town: the Fábrica de Estamparia de Rio de Mouro (Mouro River Stamping Factory) in 1778.

The front façade of Seteais Palace, expanded for the visits of the Royal family, by the Marquess of Marialva

The visit of Queen Maria I in 1787 brought about the restoration and redecoration of a few salons and chambers in the municipal buildings. The great festivities of 1795 to celebrate the baptism of the Infante António, son of John VI, resulted in grand balls at the Palace of Queluz. In 1838 the King-Consort, Ferdinand II bought the Monastery of Nossa Senhora da Pena and a vast adjacent area, commissioning the architect José de Costa e Silva to construct an arch joining the two quarters of the Seteais Palace (owned by the Marquis of Marialva), to commemorate the 1802 visit of the Prince and Princess of Brazil, John and Carlota Joaquina, and the subsequent visit of their son, the absolutist King Miguel, in 1830.

The arabesque Monserrate Estate on another hilltop near the town of Sintra

During the third quarter of the 18th century and practically all of the 19th century, foreign travellers and Portuguese aristocrats, fired by Romanticism, rediscovered the magic of Sintra, especially in its exotic landscapes and climate. Their visits led to the establishment of several hotels, one of which, Lawrence's, opened in 1764, was still functioning in 2018. In the summer of 1787, William Beckford stayed with the Marquis of Marialva, master of the horse for the kingdom, at his residence of Seteais. At the beginning of the 19th century Princess Carlota Joaquina, wife of Prince Regent John, bought the estate and Ramalhão Palace. Between 1791 and 1793, Gerard Devisme constructed a Neo-Gothic mansion on his extensive estate in the Quinta de Monserrate (later known as the Monserrate Palace). Beckford, who remained in Sintra, rented the property from Devisme in 1794. The landscape, covered in fog, also attracted another Englishman, Sir Francis Cook, who occupied the estate, constructing an oriental pavilion.

The Pena National Palace: summer residence of the monarchs of Portugal during the 19th century

Quinta da Regaleira, an integral landmark of Sintra's UNESCO Cultural Landscape

The Palace of Pena, Sintra's exemplary Portuguese Romantic symbol, was initiated by the King-Consort Ferdinand, husband of Queen Maria II (1834-1853), a German-born member of the House of Saxe-Cobourg-Gotha. The Palace was built over the remains of the 16th-century monastery of the Order of Saint Jerome, conserving many fundamental aspects, including the church, cloister and a few dependencies. The architecture is eclectic, influenced by many architectural styles, evidence of an era of Romanticism.

The intentional mixture of eclectic styles includes the Neo-Gothic, Neo-Manueline, Neo-Islamic, Neo-Renaissance neo-Islamic, and neo-Manueline styles. Much of this has been evident since major renovations in the 1800s The design was a project of the Baron von Eschwege and Ferdinand II, to substitute the Sintra National Palace as an alternative to the summer residence in Cascais. After Sintra, the monarchs Louis of Portugal (1861-1889) and Carlos of Portugal (1863-1908) ended their summers with visits to Cascais in the months of September and October.

In 1854, the first contract was signed to construct a rail link between Sintra and Lisbon. A decree signed on 26 June 1855 regulated the contract between the government and Count Claranges Lucotte but was later rescinded in 1861. The connection was finally inaugurated on 2 April 1887.

By the beginning of the 20th century, Sintra was recognized as a summer resort visited by aristocrats and millionaires. Among these, Carvalho Monteiro, owner of a considerable fortune (known as "Monteiro dos Milhões") constructed near the main town, on an estate he bought from the Baroness of Regaleira, a luxurious revivalist palacette, based on a Neo-Manueline architecture.

From the second half of the 19th century into the first decades of the 20th century, Sintra also became a privileged place for artists: musicians such as Viana da Mota; composers such as Alfredo Keil, painters like João Cristino da Silva (author of one of the most celebrated canvases of Portuguese Romantic art, "Five Artists in Sintra [pt]"), writers such as Eça de Queirós or Ramalho Ortigão, all these people lived, worked or got inspiration from Sintra's landscape.

Part of the historic centre

The proclamation of a Portuguese Republic in 1910 transformed the bohemian climate of Sintra. Economic development was now promoted; the potential benefits to the region of growth in agriculture, industry and commerce were promoted to foster development. In 1908 a wine growing zone had been demarcated in Colares. Now a commission was established to monitor the quality of wines and promote their exportation, and in 1914 a commercial association (Portuguese: Associação Comercial e Industrial de Sintra) was set up to manage their concession. Meanwhile, in the name of secular and popular progress, parts of the cultural heritage were destroyed, including the annexes of the medieval village bordering the Palace in 1911, while the nave of the Church of the Misericórdia was reduced to the presbytery to allow the road to be widened. The first decades of the 20th century were the time of the fastest urbanization of the town, supported by its rail link to Lisbon and the influx of summer travellers.

During the 1920s damage to culturally important sites led to the creation of institutions to study and protect the vast artistic heritage. The Instituto Histórico de Sintra (Historic Institute of Sintra), under the direction of Afonso de Ornelas, played an important part in this period. Archaeological studies resulted in considerable development: in 1927, Félix Alves Pereira rediscovered the Neolithic settlements of Santa Eufémia, and the first publication of the discoveries at the prehistoric monuments of Praia das Maçãs were completed in 1929. From this time until the 1970s, coastal Sintra was becoming a summer destination, resulting in the building of Portuguese summer residences. Many important Portuguese architects developed projects in the area in the first half of the 20th century, including Raul Lino, Norte Júnior and Tertuliano de Lacerda Marques.

These projects benefited town and region, increased tourism and attracted as residents many notable Portuguese: historian Francisco Costa; writer Ferreira de Castro; sculptor Anjos Teixeira; architects Norte Júnior and Raul Lino; painters Eduardo Viana, Mily Possoz and Vieira da Silva; poet Oliva Guerra; composer and maestro Frederico de Freitas; historians Felix Alves Pereira and João Martins da Silva Marques

In 1944, prior to his arrest, Vichy France Prime Minister Pierre Laval had planned to move to an estate in Sintra, where a house had been leased for him.

The 1949 municipal plan by De Groer was devised to protect the town and its neighbourhood from uncontrolled urbanization, and resulted in the maintenance of an environment comparable to 19th century Sintra. Urban anarchy predominated until the middle of the 1980s in the areas adjacent to the main town of Sintra, resulting in the development of new neighbourhoods.

Wikipedia,

Sintra

Municipality

UNESCO

 

Clockwise: Pena National Palace; Azenhas do Mar; Quinta da Regaleira; Seteais Palace; Praia da Ursa; Monserrate Palace.

Flag of Sintra

Flag

Coat of arms of Sintra

Coat of arms

 

Coordinates: 38°47′57″N 9°23′18″W

Country Portugal

RegionLisbon

Metropolitan areaLisbon

DistrictLisbon

Parishes11 (list)

Government

• PresidentBasílio Horta (PS)

Area

• Total

319.23 km2 (123.26 sq mi)

Elevation175 m (574 ft)

Lowest elevation0 m (0 ft)

Population (2011)

• Total

377,835

• Density1,200/km2 (3,100/sq mi)

Time zoneUTC+00:00 (WET)

• Summer (DST)UTC+01:00 (WEST)

Postal code

2714

Area code219

PatronSão Pedro

Websitehttp://www.cm-sintra.pt

UNESCO World Heritage Site

Official nameCultural Landscape of Sintra

CriteriaCultural: ii, iv, v

Reference723

Inscription1995 (19th Session)

Area946 ha

Sintra (/ˈsɪntrə, ˈsiːntrə/,[1][2][3] Portuguese: [ˈsĩtɾɐ] ⓘ) is a town and municipality in the Greater Lisbon region of Portugal, located on the Portuguese Riviera. The population of the municipality in 2021 was 385,654,[4] in an area of 319.23 square kilometres (123.26 sq mi).[5] Sintra is one of the most urbanized and densely populated municipalities of Portugal. A major tourist destination famed for its picturesqueness, the municipality has several historic palaces, castles, scenic beaches, parks and gardens.

 

The area includes the Sintra-Cascais Nature Park through which the Sintra Mountains run. The historic center of the Vila de Sintra is famous for its 19th-century Romanticist architecture, historic estates and villas, gardens, and royal palaces and castles, which resulted in the classification of the town as a UNESCO World Heritage Site. Sintra's landmarks include the medieval Castle of the Moors, the romanticist Pena National Palace and the Portuguese Renaissance Sintra National Palace.

 

Sintra is one of the wealthiest municipalities in both Portugal and the Iberian Peninsula as a whole.[6][7][8][9] It is home to one of the largest foreign expatriate communities along the Portuguese Riviera,[10][11][12][13][14] and consistently ranks as one of the best places to live in Portugal.[15][16] The ECB Forum on Central Banking, an annual event organised by the European Central Bank, is held in Sintra.[17]

 

History

Prehistory to Moorish era

 

Anta de Adrenunes.

 

Anta do Monte Abraão.

The earliest remnants of human occupation were discovered in Penha Verde: these vestiges testify to an occupation dating to the early Paleolithic.[18] Comparable remnants were discovered in an open-air site in São Pedro de Canaferrim, alongside the chapel of the Castelo dos Mouros (Moorish Castle), dating back to the Neolithic, and include decorated ceramics and microlithic flint utensils from the 5th millennium BC.[19]

 

Ceramic fragments found locally including many late Chalcolithic vases from the Sintra mountains suggest that between the fourth and third millennia B.C. the region (adjacent to the present village of Sintra) was occupied by a Neolithic/Chalcolithic settlement, with characteristics comparable to fortified settlements in Lisbon and Setúbal.[18] The evidence discovered in Quinta das Sequoias and São Pedro de Canaferrim contrasts dramatically with those remnants discovered in the walled town of Penha Verde and the funerary monument of Bella Vista.[18] Traces of several Bronze Age remains were also discovered in many places in the Sintra Mountains, including alongside the town, in the Monte do Sereno area, and a late Bronze Age settlement within the Moorish Castle dating to the 9th–6th centuries B.C.

 

The most famous object from this period is the so-called Sintra Collar, a middle Bronze Age gold neck-ring found near the city at the end of the 19th century, which since 1900 has been part of the British Museum's collection. Relatively close by, in Santa Eufémia da Serra, is an Iron Age settlement where artifacts from indigenous tribes and peoples of Mediterranean origins (principally from the Punic period) were also discovered.[18]

 

These date from the early 4th century B.C., prior to the Romanization of the peninsula, which in the area of Foz do Tejo took place in the middle of the 2nd century B.C.[18] Close proximity to a large commercial centre (Olisipo) founded by the Turduli Oppidani people in the first half of the first millennium B.C., meant that the region of Sintra was influenced by human settlement throughout various epochs, cultures that have left remains in the area to this day. The toponym Sintra derives from the medieval Suntria, and points to an association with radical Indo-European cultures; the word translates as 'bright star' or 'sun', commonly significant in those cultures.[18] Marcus Terentius Varro and Cadizian Lucius Junius Moderatus Columella designated the place "the sacred mountain" and Ptolemy referred to it as the "mountains of the moon".[18]

  

Part of the Roman Dam of Belas complex, showing the ventilation structures (foreground) and the remaining dam segment (background).

During the Roman occupation of the peninsula, the region of Sintra was part of the vast Civitas Olisiponense which Caesar (around 49 B.C.) or more likely Octavius (around 30 B.C.) granted the status of Municipium Civium Romanorum. The various residents of the region were considered part of the Roman Galeria and in the present village of Sintra there are Roman remains testifying to a Roman presence from the 1st–2nd centuries B.C. to the 5th century A.D. A roadway along the southeast part of the Sintra Mountains and connected to the main road to Olisipo dates from this period.[18]

  

Roman Bridge of Catribana.

This via followed the route of the current Rua da Ferraria, the Calçada dos Clérigos and the Calçada da Trindade.[18] Following the Roman custom of siting tombs along their roads and near their homes, there is also evidence of inscriptions pertaining to Roman funeral monuments, dating mainly to the 2nd century. The area around the modern town of Sintra, due to its proximity to Olisipo, the ancient name of Lisbon, was always profoundly interconnected with the major settlement, to the point that the Fountain of Armés, a 1st-century fountain in the village of Armés, Terrugem, in Sintra, has been built by Lucius Iulius Maelo Caudicus, an Olisipo flamen, to honour the Roman Emperor Augustus.

  

The Castle of the Moors, on the hilltops of Sintra

It was during the Moorish occupation of Sintra (Arabic: Xintara) that Greco-Latin writers wrote of the explicit occupation of the area of the town centre. A description by the geographer Al-Bacr, described Sintra as "one of the towns that [are] dependent on Lisbon in Al-Andalus, in proximity to the sea", characterizing it as "permanently submersed in a fog that never dissipates".[18]

 

During the Reconquista (around the 9th century), its principal centre and castle were isolated by Christian armies. Following the fall of the Caliphate of Córdoba, the King of León, Alfonso VI received in the spring of 1093, the cities of Santarém, Lisbon and the Castle of Sintra.[18] This followed a period of internal instability within the Muslim taifas of the peninsula, and in particular the decision by the ruler of Taifa of Badajoz, Umar ibn Muhammad al-Mutawakkil who, after hesitating from 1090 to 1091, placed his territory under the suzerainty of Alfonso VI when faced with the threat of the Almoravids. Afonso took the cities and the castle of Sintra between 30 April and 8 May 1093, but shortly after their transfer Sintra and Lisbon were conquered by the Almoravids.[18] Santarém was saved by Henry, who Alfonso had nominated Count of Portugal in 1096, to replace Raymond of Burgundy.[18]

 

Kingdom

 

The remnants of the chapel of São Pedro de Canaferrim, constructed by Afonso Henriques following the surrender of Moors in Sintra

In July 1109, Count Henry reconquered the Castle of Sintra.[18] This was preceded a year before by an attempt by Prince Sigurd the Crusader, son of Magnus III of Norway, to capture the castle from the Moors in the course of his trek to the Holy Land. Sigurd's forces disembarked at the mouth of the Colares River but failed to take the castle. But it was only after the conquest of Lisbon, in October 1147, by Afonso Henriques (supported by Crusaders), that the castle surrendered definitively to the Christians, in November.[18] It was integrated into Christian dominions along with Almada and Palmela after their surrender. Afonso Henriques established the Church of São Pedro de Canaferrim within the walls of the Moorish Castle to mark his success.[18]

  

The municipal building of Sintra, constructed after 1154 to house the local administration

On 9 January 1154, Afonso Henriques signed a foral ("charter") for the town of Sintra, with all its respective regalia. The charter established the municipality of Sintra, whose territory encompassed a large area, eventually divided into four great parishes: São Pedro de Canaferrim (in the castle), São Martinho (in the town of Sintra), Santa Maria and São Miguel (in the ecclesiastical seat of Arrabalde).[18] The early municipal seat, the town of Sintra, was the centre of a significant Sephardic community, with a synagogue and quarter. This community was not limited to Sintra town: enclaves are mentioned during the reign of King Denis in Colares, but were heavily pressured by the influx of Christian serfs.[18] Throughout the 12th and 13th centuries, owing to the fertility of the land, various convents, monasteries and military orders constructed residences, estates, water-mills and vineyards. There are municipal records from this period of a number of donations and grants; between 1157 and 1158, Afonso Henriques donated to the master of the Knights Templar, Gualdim Pais, various houses and estates in the centre of Sintra.[18]

 

In 1210, the Monastery of Santa Cruz in Coimbra acquired four houses in Pocilgais, releasing them in 1230, while in 1264 it controlled homes and vineyards in Almargem.[18] In 1216 the Monastery of São Vicente de Fora (Lisbon) also held a vineyard in Colares and, in 1218, estates in Queluz and Barota. At some time between 1223 and 1245, the Monastery of Santa Maria de Alcobaça held various privileges in the territory. The military Order of Santiago owned an estate in Arrifana in 1260.[18] Many of Afonso Henriques' donations in the 12th century, including privileges assigned to these institutions, were confirmed in 1189 by his son, Sancho I (1185–1211), corresponding to a social, political and economic strategy during the post-Reconquista era.[18] Consequently, after 1261, Sintra had a local administration consisting of an alcalde representing the Crown, and two local judges elected by the public. During the political conflict between King Sancho II (1223–1248) and the Church, the churches of São Pedro and São Martinho, which belonged to the King, were ceded to the Bishop of Lisbon and Sé.[18] Yet the Crown's patrimony was defined early: in 1287, King Denis donated to Queen Elizabeth of Portugal the town, the signeurial holdings and all their associated benefits. Later, these lands were transferred to the young Infante Afonso (later King Afonso IV), and remained in his possession until 1334, before reverting to the ownership of the queen (Portuguese: Casa da Rainha).[18]

 

The Black Death arrived in Sintra in the 14th century; in 1350, the disease is known to have caused the death of five municipal scribes. Far greater numbers of deaths probably resulted, perhaps owing to the cool climate and humidity, conditions that favoured the rapid spread of the disease.[18]

  

The Palace of Sintra, for a long time the residence of royal family during the summer

During the reign of King Ferdinand (1367–1383), Sintra played a part in the controversial marriage of the monarch to Dona Leonor Telles de Menezes. In 1374, the King donated Sintra to the Lady Telles, whom he eventually married in secret in the north of the country.[18] Along with Sintra the King conceded the municipalities of Vila Viçosa, Abrantes and Almada, to the consternation of his private council; following a confrontation the King abandoned his duties and travelled to Sintra, where he remained for a month on the pretext of hunting.[18] As Sintra was located relatively close to Lisbon, many of its people were called to work on projects for the Crown in the capital: in 1373, King Ferdinand decided to wall the city, and requested funds or workers from coastal lands in Almada, Sesimbra, Palmela, Setúbal, Coina, Benavente and Samora Correia, as well as all of Ribatejo, and from the inland areas of Sintra, Cascais, Torres Vedras, Alenquer, Arruda, Atouguia, Lourinhã, Telheiros and Mafra. During the Dynastic Crisis between 1383 and 1385, Sintra joined Leonor Telles in supporting the proclamation of her daughter, Beatrice, who married John I of Castile, as Queen of Portugal and Castile. After the defeat of the Castilian army at Aljubarrota (August 1385) by Portuguese and English troops, commanded by Nuno Álvares Pereira, Sintra became one of the last places to surrender to the Master of Aviz, later King of Portugal (after 1383).

 

Joanine and Philippine era

John I (1385–1433), first King of the second dynasty, broke the tradition of transferring Sintra to the Casa da Rainha (Queen's property). Probably around 1383, John I granted the lands of Sintra to Count Henrique Manuel de Vilhena, quickly revoking the decision after Henrique took the Infanta's side during the dynastic quarrel. Sintra, therefore, continued as a possession of the King, who expanded the local estate. Until the end of the 17th century, the royal palace constituted one of the principal residences and summer estates of the court: it was from here that John decided to conquer Ceuta (1415); King Afonso V was born and died at the palace (1433–1481); and here King John II (1481–1495) was acclaimed sovereign.[18]

 

In a document issued in 1435 by King Edward (1433–1438), the region was described as: "A land of good air and water and of the Comarcas with an abundance in the sea and land [...] our most loyal city of Lisbon being so near, and being in it sufficient diversions, and the distractions of the mountains and hunting...".[18]

 

During the Portuguese Age of Discovery, several people born in Sintra were written into history. In 1443 Gonçalo de Sintra, squire in the House of the Infante Henry, was sent by the prince as captain of a caravel to the coast of Africa. He explored the region near the Ouro River and eventually died there in 1444.[18] Pedro de Sintra and Soeiro da Costa later mapped most of the Atlantic coast of Africa, around the time of Henry's death in 1460.[18]

 

At the end of the 15th century the importance of Sintra on official itineraries led Queen Eleanor of Viseu (wife of King John II), then principal benefactor of the Portuguese Misericóridas, to expand her principal institutions in Sintra.[18] The Hospital e Gafaria do Espírito Santo, the only remnant of which left standing is a chapel to São Lázaro, was constructed to provide assistance and support to lepers in the region (the chapel still includes the signets of King John, the pelican, and Queen Leonor, the shrimp). In 1545, the hospital was transferred to the administration of the Santa Casa da Misericórdia of Sintra which was set up by Queen Catherine of Austria, wife of John III.

 

King Manuel I (1495–1521) enjoyed spending his summers in Sintra, due to its cool climate and abundance of game; as Damião de Góis, his chronicler noted: "because it is one of the places in Europe that is cooler, and cheerful for whichever King, Prince or Master to pass their time, because, in addition to its good airs, that cross its mountains, called by the older peoples the promontory of the moon, there is here much hunting of deer and other animals, and overall many and many good trout of many type, and in which in all of Hispania there can be found, and many springs of water...".[18] Between the 15th and 16th century, after travelling to the Crown of Castile and the Crown of Aragon when being considered as heir to the Kingdoms in 1498, the King transformed and enriched the town and its region with several public works. These included the reconstruction of the old Gothic Church of São Martinho and in 1511 the construction of the Monastery of Nossa Senhora da Pena on the highest peak of the Sintra Mountains, which he then transferred to the Order of Saint Jerome. In the second half of the 16th century, Sintra was a centre for courtesans and members of the aristocracy began building estates and farms within the region.[18] In this rural environment, from 1542, the Viceroy of India, D. João de Castro (1500–1548) began residing at Quinta da Penha Verde, where he collected examples of Portuguese culture of the time, including works by celebrated artist Francisco de Holanda.[18] It was during this cultural Renaissance that the marble chancel sculpted between 1529 and 1532 by Nicolau Chanterene for the chapel of the Monastery of Nossa Senhora da Pena was completed, as was the portico of the Church of Nossa Senhora da Conceição da Ulgueira (1560).[18]

  

The Convent of the Capuchos, the monastic retreat established during the primordial history of the municipality (16th century)

Luís de Camões (1524–1580) referred to the mountains of Sintra in his Os Lusíadas chronicle, as a mythic land ruled by water nymphs. The Renaissance poet Luisa Sigea—Syntrae Aloisiae Sygeae in Paris (1566) and Madrid (1781) referred to Sintra as a "pleasant valley, between cliffs that rise into the heavens...curved in graceful hills among which one can feel the murmur of the waters...[where] everything, in fact, will enchant and perfume the environment with its fragrance and fruit."[18]

 

With the death of the Cardinal-King Henry (1578–1580), Philip II of Spain inherited the Kingdom of Portugal, initiating a personal union of the crowns that would last until 1640. During this period, Portuguese political power moved from Sintra to Vila Viçosa, principal centre of the House of Braganza, whose dukes, descendants of John of Portugal, were heirs to the throne of Portugal. Following the decision of the Cortes of Tomar in 1581, Phillip as King of Portugal accepted an administration composed of the Portuguese aristocracy. He passed through Sintra around October 1581, visiting the monasteries and churches.[18] It was during this period that cult of Sebastianism, the hope for the return of King Sebastian, came to an end, when several fake "Sebastians" were denounced.[18] In 1585 Mateus Alvares, born on the island of Terceira in the Azores and guardian of the hermitage of São Julio, passed himself off as King Sebastian and created conflict in Sintra, Madra, Rio de Mouro and Ericeira. The Sebastian adventure ended with the hanging of thirty people and the suffering of many more. It was not surprising, therefore, that the visit in 1619 by King Philip IV of Spain (Philip III of Portugal) resulted in many families escaping to the hills. During this union (1580–1640), Sintra was a privileged place for Portuguese "exiles" from the Castilian court; nobles who wished to distance themselves from Spanish nobility would purchase lands in the region, away from court intrigue.[18] At the time of the Restoration, in 1640, the municipality had approximately 4000 residents.

 

Brigantine era

 

Royal Palace of Queluz.

The war with Spain (1640–1668), the affirmation of Mafra during the reign of John V of Portugal (1706–1750) through the construction of the Palace-Convent, and later the construction of Royal Palace of Queluz in 1747 during the reigns of Joseph I (1750–1777) and Maria I (1777–1816), helped diminish royal visits to the region.[18] During this time there were only two documented visits: in 1652 and 1654, respectively the visit of Queen Luísa de Gusmão and King John IV (1640–1656), and the final burial of King Afonso VI.[18]

  

Ill-fated king Afonso VI imprisoned in the Palace of Sintra, by painter Alfredo Roque Gameiro.

Alleging the insanity of the King and the incapacity of the heir, the Duke of Cadaval and the Infante Peter led a coup d'état in 1667 which resulted in the resignation of the Count of Castelo Melhor, Minister of King Afonso VI (1656–1683) and the imprisonment of the monarch.[18] In 1668 the Cortes of Lisbon confirmed the Infante Peter, the king's brother, as regent and heir. Afonso VI lived the rest of his life imprisoned, in the Paço da Ribeira (1667–1669), in the Fortress of Saint John the Baptist in Angra, in the Azores (1669–1674) and in the end, with the discovery of a conspiracy to kill the regent, in the Paço da Vila in Sintra (1674–1683).[18]

 

From the 17th to the 18th centuries, the region was centre of contemplative religious orders who established convents in Sintra. But it remained a place of myths, with a large, mysterious forest and macabre, gloomy spaces. Father Baião, in his Portugal Cuidadoso (1724) noted: "Next to the Palace of Sintra was a forest, so thick, that during the day, it cast fear in him who entered it. And [King] D. Sebastian was free from these fears, that he would walk at night, through it, many times for two or three hours."[18] Starting in the second half of the 18th century and lasting through the 19th century Sintra became known as a nostalgic and mysterious location described by many foreigners.

  

Lord Byron (1788–1824) particularly enjoyed his stay in Sintra that is described in Childe Harold's Pilgrimage as "glorious Eden".

It was the Romantic Lord Byron's "glorious Eden"; Almeida Garrett's "pleasant resort"; Eça de Queirós's "nest of lovers [where, in] the romantic foliage, the nobles abandoned themselves in the hands of the poets"; or the place where Richard Strauss saw a garden "comparable to Italy, Sicily, Greece or Egypt, a true garden of Klingsor, and there in the heights, a castle of the Holy Grail".[18]

 

The 1755 Lisbon earthquake, meanwhile, caused the destruction of the centre of Sintra as well as a number of deaths, resulting in building and restoration in the second half of the 18th century. Also in the 18th century, the first industrial building was established in the town: the Fábrica de Estamparia de Rio de Mouro (Mouro River Stamping Factory) in 1778.

  

The front façade of Seteais Palace, expanded for the visits of the royal family, by the Marquess of Marialva

The visit of Queen Maria I in 1787 brought about the restoration and redecoration of a few salons and chambers in the municipal buildings. The great festivities of 1795 to celebrate the baptism of the Infante António, son of John VI, resulted in grand balls at the Palace of Queluz. In 1838 the King-Consort, Ferdinand II bought the Monastery of Nossa Senhora da Pena and a vast adjacent area, commissioning the architect José de Costa e Silva to construct an arch joining the two quarters of the Seteais Palace (owned by the Marquis of Marialva), to commemorate the 1802 visit of the Prince and Princess of Brazil, John and Carlota Joaquina, and the subsequent visit of their son, the absolutist King Miguel, in 1830.[18]

  

The arabesque Monserrate Estate on another hilltop near the town of Sintra

During the third quarter of the 18th century and practically all of the 19th century, foreign travellers and Portuguese aristocrats, fired by Romanticism, rediscovered the magic of Sintra, especially in its exotic landscapes and climate. Their visits led to the establishment of several hotels, one of which, Lawrence's, opened in 1764, was still functioning in 2018. In the summer of 1787, William Beckford stayed with the Marquis of Marialva, master of the horse for the kingdom, at his residence of Seteais. At the beginning of the 19th century Princess Carlota Joaquina, wife of Prince Regent John, bought the estate and Ramalhão Palace. Between 1791 and 1793, Gerard Devisme constructed a Neo-Gothic mansion on his extensive estate in the Quinta de Monserrate (later known as the Monserrate Palace). Beckford, who remained in Sintra, rented the property from Devisme in 1794. The landscape, covered in fog, also attracted another Englishman, Sir Francis Cook, who occupied the estate, constructing an oriental pavilion.[18]

  

The Pena National Palace: summer residence of the monarchs of Portugal during the 19th century

 

Quinta da Regaleira, an integral landmark of Sintra's UNESCO Cultural Landscape

The Palace of Pena, Sintra's exemplary Portuguese Romantic symbol, was initiated by the King-Consort Ferdinand, husband of Queen Maria II (1834–1853), a German-born member of the House of Saxe-Cobourg-Gotha. The palace was built over the remains of the 16th-century monastery of the Order of Saint Jerome, conserving many fundamental aspects, including the church, cloister and a few dependencies. The architecture is eclectic, influenced by many architectural styles, evidence of an era of Romanticism.

 

The intentional mixture of eclectic styles includes the Neo-Gothic, Neo-Manueline, Neo-Islamic, Neo-Renaissance neo-Islamic, and neo-Manueline styles. Much of this has been evident since a major restoration that was completed prior to 1900.[20]

 

The design was a project of the Baron von Eschwege and Ferdinand II, to substitute the Sintra National Palace as an alternative to the summer residence in Cascais. After Sintra, the monarchs Louis of Portugal (1861–1889) and Carlos of Portugal (1863–1908) ended their summers with visits to Cascais in the months of September and October.

 

In 1854, the first contract was signed to construct a rail link between Sintra and Lisbon. A decree signed on 26 June 1855 regulated the contract between the government and Count Claranges Lucotte but was later rescinded in 1861. The connection was finally inaugurated on 2 April 1887.

 

By the beginning of the 20th century, Sintra was recognized as a summer resort visited by aristocrats and millionaires. Among these, Carvalho Monteiro, owner of a considerable fortune (known as "Monteiro dos Milhões") constructed near the main town, on an estate he bought from the Baroness of Regaleira, a luxurious revivalist palacette, based on a Neo-Manueline architecture.

 

From the second half of the 19th century into the first decades of the 20th century, Sintra also became a privileged place for artists: musicians such as Viana da Mota; composers such as Alfredo Keil, painters like João Cristino da Silva (author of one of the most celebrated canvases of Portuguese Romantic art, "Five Artists in Sintra [pt]"), writers such as Eça de Queirós or Ramalho Ortigão, all these people lived, worked or got inspiration from Sintra's landscapes.[18]

 

Republic

 

Part of the historic centre

The proclamation of a Portuguese Republic in 1910 transformed the bohemian climate of Sintra. Economic development was now promoted; the potential benefits to the region of growth in agriculture, industry and commerce were promoted to foster development. In 1908 a wine growing zone had been demarcated in Colares. Now a commission was established to monitor the quality of wines and promote their exportation, and in 1914 a commercial association (Portuguese: Associação Comercial e Industrial de Sintra) was set up to manage their concession. Meanwhile, in the name of secular and popular progress, parts of the cultural heritage were destroyed, including the annexes of the medieval village bordering the palace in 1911, while the nave of the Church of the Misericórdia was reduced to the presbytery to allow the road to be widened. The first decades of the 20th century were the time of the fastest urbanization of the town, supported by its rail link to Lisbon and the influx of summer travellers.

 

During the 1920s damage to culturally important sites led to the creation of institutions to study and protect the vast artistic heritage. The Instituto Histórico de Sintra (Historic Institute of Sintra), under the direction of Afonso de Ornelas, played an important part in this period.[18] Archaeological studies resulted in considerable development: in 1927, Félix Alves Pereira rediscovered the Neolithic settlements of Santa Eufémia, and the first publication of the discoveries at the prehistoric monuments of Praia das Maçãs were completed in 1929.[18] From this time until the 1970s, coastal Sintra was becoming a summer destination, resulting in the building of Portuguese summer residences.[18] Many important Portuguese architects developed projects in the area in the first half of the 20th century, including Raul Lino, Norte Júnior and Tertuliano de Lacerda Marques.

 

These projects benefited town and region, increased tourism and attracted as residents many notable Portuguese: historian Francisco Costa; writer Ferreira de Castro; sculptor Anjos Teixeira; architects Norte Júnior and Raul Lino; painters Eduardo Viana, Mily Possoz and Vieira da Silva; poet Oliva Guerra; composer and maestro Frederico de Freitas; historians Felix Alves Pereira and João Martins da Silva Marques.[18]

 

In 1944, prior to his arrest, Vichy France Prime Minister Pierre Laval had planned to move to an estate in Sintra, where a house had been leased for him.[21]

 

The 1949 municipal plan by De Groer was devised to protect the town and its neighbourhood from uncontrolled urbanization, and resulted in the maintenance of an environment comparable to 19th century Sintra.[18] Urban anarchy predominated until the middle of the 1980s in the areas adjacent to the main town of Sintra, resulting in the development of new neighbourhoods.[18]

 

Geography

Physical geography

 

The town of Sintra sitting atop the Sintra Mountains, the exposed granite formation of igneous rock extending to the Atlantic Ocean

The Sintra Mountains, a granite massif ten kilometres long – considered the Monte da Lua (Mountain of the Moon), or Promontorium Lunae by the strong local tradition of astral cults – emerge abruptly between a vast plain to the north and the northern margin of the Tagus River estuary, winding in a serpentine cordillera towards the Atlantic Ocean and Cabo da Roca, the most westerly point of continental Europe.

  

The imposing cliffs which delimit the Sintra range and the Atlantic

The São João platform, along the northern flank of the Sintra Mountains, has altitudes between 100 metres (110 yd) and 150 metres (160 yd), while the southern part of the mountains, the Cascais platform, is lower: sloping from 150 metres (160 yd) to the sea, terminating along the coast, around 30 metres (33 yd) above sea level.[22][23] The spectacular relief results from the east–west orientation of the massif's axis, its terminus at the coast, and the nature of igneous rocks, which are resistant to erosion.[23] The Eruptive Massif of Sintra (MES) is a dome structure, formed by layers of sedimentary rocks (limestones and sandstones) from the Upper Jurassic and early Cretaceous periods.[23] A metamorphosed igneous intrusion resulted in a narrow halo of metamorphic rocks, but also strongly deformed these sedimentary layers causing a vertical exposure.[23] While in the south there are enclosed sedimentary layers, to the north (around Praia Grande) the massif is steep. The sedimentary formations, until the beginning of the Upper Cretaceous, are deformed by the intrusion which limits the MES to the end the Cretaceous.[23] Radiometric aging of different rocks from the massif has indicated an age between 80 and 75 million years (confirming the installation of the massive Upper Cretaceous).[23]

  

Beach in Azenhas do Mar, Sintra

The geodynamic conditions that controlled the formation of the MES (correlated with the development of the Sines and Monchique Eruptive Massifs) are associated with the progressive northern expansion of the Atlantic Ocean and the consequent opening of the Bay of Biscay.[23] The Bay of Biscay's expansion resulted in complex tensions responsible for profound fractures in the Earth's crust that were conduits for the ascension of magma.[23] Around 80 million years ago this magma spread across the surface as a superficial crust with a depth of 5 kilometres between sedimentary layers (160 to 9 million years old) that were chemically metamorphosed.[23] Over time the magma chamber cooled and crystallized, resulting in conditions that caused the granular textures that characterize the MES.[23] The weaker sedimentary layers were susceptible to erosion, and their products were deposited around their base. Consequently, the massif likely became exposed during the Paleogenic epoch (30 million years ago), known as the Benfica Complex.[23]

 

Climate and biome

 

High humidity and cooler temperatures are rather frequent in the mountains of Sintra

The Mediterranean climate, influenced by the Atlantic and characterized by moderate temperatures and wet winters, is typical of mainland Portugal. Although the climate in the area of Cabo da Roca is close to semi-arid, the Sintra Mountains are considered moderately humid: precipitation in the mountains is higher than in the surrounding areas. The position of the town in the natural landscape of the Sintra Mountains (consisting of an exuberant natural patrimony), is influenced by the existence of a micro-climate.[22][24] For different reasons (the climate here has been moderated by the Sintra Mountains; the fertility of the soils; and its relative proximity to the Tagus estuary) the region attracted considerable early settlement. Due to its micro-climate, a huge park has developed full of dense foliage with a rich botanical diversity.

 

The temperate climate and humidity resulting from proximity to the coast favour the growth of a rich mat of forest including Atlantic and Mediterranean species, marking the transition in Portugal from northern to southern vegetation. The Pyrenean oak (Quercus pyrenaica) predominates over great expanses of the rocky heights and sheltered slopes. On moist shady slopes, normally facing north, or in sheltered places, the common oak (Quercus robur) is widespread. In lowland areas and warm places the cork oak (Quercus suber) is common and in limestone areas the Portuguese oak (Quercus faginea) is found. Other species scattered throughout the mountains of Sintra include: maple (Acer pseudoplatanus), common hazel (Corylus avellana), common hawthorn (Crataegus monogyna), European holly (Ilex aquifolium), Portuguese laurel (Prunus lusitanica), Bay laurel (Laurus nobilis), strawberry tree (Arbutus unedo), laurestine (Viburnum tinus), Kermes oak (Quercus coccifera), and Italian buckthorn (Rhamnus alaternus). In the valleys, near watercourses, grow narrow-leaf ash (Fraxinus angustifolia), Grey willow (Salix atrocinerea), European alder (Alnus glutinosa), alder buckthorn (Frangula alnus) and black elderberry (Sambucus nigra).

 

Since 1966, the Sintra Mountains have been affected by fires that have destroyed a major part of the original forest, which has been substituted by acacia and other fast-growing exotic species. The forested area of the Sintra mountains is about 5,000 hectares (50 km2), of which 26% (1,300 hectares (13 km2)) is maintained by the State through the Direcção Geral de Florestas – Núcleo Florestal de Sintra (General Directorate of Forests – Sintra Forestry Service).

 

Climate data for Sintra (Sintra Air Base) 1971–2000

MonthJanFebMarAprMayJunJulAugSepOctNovDecYear

Record high °C (°F)21.6

(70.9)23.4

(74.1)27.2

(81.0)28.0

(82.4)33.6

(92.5)41.4

(106.5)39.8

(103.6)38.5

(101.3)37.8

(100.0)31.8

(89.2)27.0

(80.6)22.5

(72.5)41.4

(106.5)

Mean daily maximum °C (°F)14.3

(57.7)14.9

(58.8)16.8

(62.2)17.4

(63.3)19.2

(66.6)22.3

(72.1)24.7

(76.5)25.3

(77.5)24.5

(76.1)21.1

(70.0)17.5

(63.5)15.1

(59.2)19.4

(66.9)

Daily mean °C (°F)9.7

(49.5)10.6

(51.1)12.0

(53.6)13.0

(55.4)14.9

(58.8)17.8

(64.0)20.0

(68.0)20.4

(68.7)19.4

(66.9)16.4

(61.5)13.0

(55.4)10.9

(51.6)14.9

(58.8)

Mean daily minimum °C (°F)5.2

(41.4)6.2

(43.2)7.3

(45.1)8.5

(47.3)10.6

(51.1)13.3

(55.9)15.2

(59.4)15.6

(60.1)14.3

(57.7)11.6

(52.9)8.6

(47.5)6.8

(44.2)10.3

(50.5)

Record low °C (°F)−3.5

(25.7)−3.5

(25.7)−2.0

(28.4)−0.1

(31.8)3.2

(37.8)6.0

(42.8)8.6

(47.5)8.4

(47.1)4.8

(40.6)−1.0

(30.2)−3.5

(25.7)−4.0

(24.8)−4.0

(24.8)

Average precipitation mm (inches)100.7

(3.96)90.7

(3.57)57.2

(2.25)72.3

(2.85)56.8

(2.24)18.2

(0.72)6.2

(0.24)6.9

(0.27)28.4

(1.12)91.0

(3.58)111.5

(4.39)127.8

(5.03)767.7

(30.22)

Average precipitation days (≥ 0.1 mm)14.314.511.213.110.56.13.63.16.811.913.916.0125.0

Average relative humidity (%)87858077757574747782848680

Mean monthly sunshine hours152.2149.5205.0224.0255.4269.7309.0307.3244.2203.5158.7128.52,607

Source: Instituto Português do Mar e da Atmosfera[25][26]

Climate data for Sintra (Granja), altitude: 134 m (440 ft), 1961–1984 normals, 1953–2003 sun hours

Human geography

Historical population

YearPop.±%

186420,766—

187821,990+5.9%

189022,918+4.2%

190026,074+13.8%

191130,694+17.7%

192029,762−3.0%

193037,986+27.6%

194045,171+18.9%

195060,423+33.8%

196079,964+32.3%

1970124,893+56.2%

1981226,428+81.3%

1991260,951+15.2%

2001363,749+39.4%

2011377,835+3.9%

2021385,606+2.1%

Source: INE[27]

The municipality is administered by 11 civil parish (Portuguese: freguesias) councils, with local authority to administer services and provide local governance, which are:[28]

 

Agualva e Mira-Sintra

Algueirão–Mem Martins

Almargem do Bispo, Pêro Pinheiro e Montelavar

Cacém e São Marcos

Casal de Cambra

Colares

Massamá e Monte Abraão

Queluz e Belas

Rio de Mouro

São João das Lampas e Terrugem

Sintra (Santa Maria e São Miguel, São Martinho e São Pedro de Penaferrim)

Sintra also has numerous hamlets and villages, including the affluent village of Linhó, Sintra.

 

Sintra's population grew considerably in the late 20th century, rising from about 14% of the Lisbon region to 19%, with the main concentration of resident population found in the important Queluz-Portela corridor, along the southeast corner of the municipality.[29] In this area were concentrated approximately 82% of the municipality's population, the most attractive parishes to live in being São Pedro de Penaferrim, Rio de Mouro, Belas and Algueirão-Mem Martins.[29][30]

  

The buildings in the central square of São Martinho, across from the Sintra National Palace

With the decrease in mortality rates, the region has undergone a general increase in infant births, primarily associated with late births, but also an increase in seniors in the community (56.5% in 2001).[29] Yet Sintra is still considered to have a structurally young population, the youngest in the Greater Metropolitan Area of Lisbon.[29] Young adults (30- to 39-year-olds) dominate Sintra's communities, with the parishes of Pêro Pinheiro, Terrugem, São Martinho, São João das Lampas, Santa Maria e São Miguel, Montelavar, Colares, Queluz and Almargem do Bispo all having higher rates of seniors in the population.[29] Approximately 80% of the population are born outside the town, 21% of these being foreign born residents. While the resident population in Lisbon has seen a gentle decrease since the mid-1960s, Sintra has grown comparably.[29]

 

Urban areas represent 55.4 square kilometres (5,540 ha) of the municipality, or approximately 17.4% of Sintra's territory; 35% of the population reside in places of between 50,000 and 100,000 inhabitants.[29] Many of these areas are anchored to lines of access, in particular, the Sintra Line and the IC19 motorway which connects the principal towns of Queluz, Agualva-Cacém, Algueirão/Mem Martins, Rio de Mouro and Belas).[29] Many of these urban areas are composed of a fabric of building projects that have historically resulted in dense buildings of concrete, normally seven or more floors in height.[29] The greatest growth in residential homes has occurred in the south of the municipality, in the triangle of São Pedro de Penaferrim, Santa Maria e São Miguel and Casal de Cambra.[29] In addition, there is a major concentration and growth in family dwellings of a seasonal nature, or second homes, in this region, and a proliferation of illegal construction in the parishes of São João das Lampas, São Pedro de Penaferrim, Belas, Agualva-Cacém and Casal de Cambra.[29]

 

Economy

 

The iconic Pena National Palace originally built on the Monastery of Nossa Senhora da Pena, and renovated extensively through the initiative of Ferdinand II of Portugal

The growth in tertiary activities has played an important part in the pattern of employment in the region, with commercial, retail and support services predominating.[29] This has been to the detriment of industry, although continuing industrial activities include the transport of materials, mineral processing, the manufacture of machinery and equipment, food-processing, beverage and tobacco companies as well as publishing and printing services.[29] There has also been a dramatic growth in the civil construction industry.[29]

 

EuroAtlantic Airways has its head office in Sintra.[31]

 

Tourism is also significant, with the parks and monuments operated by the Parques de Sintra accounting for 3.2 million visitors in 2017, for example.[32]

 

Transport

 

Sintra commuter railway station

Lisbon's commuter railway network (CP Urban Services) provides direct services to Sintra Station. The journey to Lisbon takes 35–45 minutes.[33] There is alternative transport, taxis, car-sharing services and buses, covering a large area of the district.

 

The Sintra tramway links Sintra with the Atlantic coast at Praia das Maçãs, providing a beautiful scenic ride along the way and covering a distance of some 11.5 kilometres (7.1 mi). As of 2016, the heritage line runs Wednesday to Sunday in summer months.

 

Tourist bus 434 takes visitors between attractions in Sintra. The bus follows a one-way route and stops at Sintra Station, São Pedro de Sintra, the Castle of the Moors, Pena National Palace, Sintra Old Town and returns to Sintra Station.[34]

 

Landmarks

Cultural Landscape of Sintra

UNESCO World Heritage Site

CriteriaCultural: ii, iv, v

Reference723

Inscription1995 (19th Session)

Area946 ha

Sintra has a great number of preserved or classified architectural buildings:

 

Prehistoric

Barreira Megalithic Complex

Dolmen of Adrenunes (Portuguese: Anta de Adrenunes)

Dolmen of Agualva (Portuguese: Anta de Agualva/Anta do Carrascal)

Dolmen of Estria (Portuguese: Anta da Estria)

Dolmen of Monte Abraão (Portuguese: Anta do Monte Abraão)

Praia das Maçãs Prehistoric Monument (Portuguese: Monumento Pré-Histórico de Praia das Maçãs)

Tholos tomb of Monge (Portuguese: Tholos do Monge)

Hades' Doorkeeper

 

A day of Saturn

Welcome, my dark friends!

November is your month.

 

HKD

 

Symbols

November - Melancholy - Underworld - Hades - deep thoughts - decadence - sensibility - memento mori - caducity

Energy of B3

 

HKD

  

Ravello, Italy

Amalfi Coast

Campania Region

Salerno Province

 

Click on Image to Enlarge.

 

Ravello is a town and comune situated above the Amalfi Coast in the province of Salerno, Campania, southern Italy, with approximately 2,500 inhabitants. Its scenic beauty makes it a popular tourist destination, and earned it a listing as a UNESCO World Heritage Site in 1996.

 

The Amalfi Coast, or Costiera Amalfitana in Italian, is a stretch of coastline on the southern side of the Sorrentine Peninsula of Italy, extending from Positano in the west to Vietri sul Mare in the east.

 

The town has served historically as a destination for artists, musicians, and writers, including Giovanni Boccaccio, Richard Wagner, Edvard Grieg, M. C. Escher, Virginia Woolf, Greta Garbo, Gore Vidal, André Gide, Joan Mirò, Truman Capote, Tennessee Williams, Graham Greene, Jacqueline Kennedy, Leonard Bernstein and Sara Teasdale.

 

Every year in the summer months, the "Ravello Festival" takes place. It began in 1953 in honour of Richard Wagner, who signed the guestbook of his local hotel with the words "The magical garden of Klingsor is found" suggesting that it was in Ravello that the composer found the inspiration for his Parsifal.

 

The 1953 film Beat the Devil, directed by John Huston and starring Humphrey Bogart, Jennifer Jones, and Gina Lollobrigida in her English language debut, was shot in Ravello.

 

 

Villa Rufolo is a building within the historic center of Ravello, a town in the province of Salerno, southern Italy, which overlooks the front of the cathedral square. The initial layout dates from the 13th century, with extensive remodeling in the 19th century.

 

Originally belonging to the powerful and wealthy Rufolo family who excelled in commerce (a Landolfo Rufolo has been immortalized by Boccaccio in the Decameron), it then passed by inheritance to other owners such as the Confalone, Muscettola and d'Afflitto.

 

Around the middle of the nineteenth century it was sold to the Scotsman Francis Neville Reid who took care of a general restoration, resulting in today's layout.

 

The villa is entered through an opening in the arched entrance tower, and after a short street a clearing is dominated by the Torre Maggiore: the latter facing the bell tower of the cathedral in Ravello, overlooking the terraces (upper and lower) as well as overlooking the Amalfi Coast and the Gulf of Salerno with flower gardens that are in bloom most of the year.

 

Of particular interest among the rooms of the villa is a large courtyard elevated like a cloister and some rooms forming a small museum.

 

The German opera composer Richard Wagner visited the villa in 1880. He was so overcome by the beauty of the location that he imagined the setting as the garden of Klingsor in the second act of Parsifal. In commemoration, every year the lower garden of Villa Rufolo hosts a Wagnerian concert.[Wikipedia]

The garden of Villa Rufolo in Ravello on the Costiera Amalfitana in Italy

The view of Costiera Amalfitana from the top of the tower of Villa Rufolo in Ravello

The Moorish courtyard in Villa Rufolo in Ravello on the Costiera Amalfitana in Italy

What is happening? Tell yourself the story…

 

HKD

 

Parsifal – Klingsor’s kingdom is not far away.

 

HKD

 

Digital Art – Own Resources

 

HKD

 

Erinnerungen an Abschnitte des Pfades

 

Der Pfad führt durch unsichere Gebiete. Wegelagerer und Strauchdiebe lauern überall, bereit, schwache Beute blitzschnell auszuplündern. Rehe auf dem Weg durch das Land der Wölfe. Es gibt Menschen, die sind scheu wie die Rehe, und es gibt solche, die gehören zum Clan der Wölfe, denn sie sind auf Jagd und auf Beute aus. Die Beute besteht aus Umsatz.

Die kosmischen Prinzipien von Opfer und Täter ziehen nicht nur ein paar, sondern nahezu alle Menschen mit in ihr gemeinsames Spiel. Yin und Yang gehören zusammen und das Spiel selbst ist unschuldig und gerade darum kann innerhalb der Spiele mit Schuldzuweisungen gearbeitet werden. Schließlich trägt niemand eine Schuld. Dennoch werden viele Menschen ständig mit Schuldvorwürfen konfrontiert, von außen und später von innen, vom eigenen Gewissen.

Selbstbeschuldigung raubt viel Lebensenergie und daher ist sie auf dem Pfad der seelischen Läuterung ein Strauchdieb oder Raubritter.

Wenn die Raubritter außen auftauchen personifizieren sich Menschen und Situationen, die vorwurfsvolle Energie ausstrahlen. Raubritter der heutigen Zeit sind Geschäftemacher, die über Einschüchterung bis hin zur Panikmache alle Hebel in Bewegung setzen, um ihre Ziele zu erreichen, ihre Produkte zu verkaufen und Profit zu machen. In ihrer Welt ist das ein legitimes Bestreben, das erst hinterfragt wird, wenn ein Bewusstseinswandel ansteht.

Hat sich dieser vollzogen werden Selbstvorwürfe und Selbstkritik im Inneren plagen, und diese Plage ist typisch für den Weg der Selbsterkenntnis, für das, was als „der Pfad“ bekannt ist.

Die anfangs üblichen Konflikte mit der Außenwelt verlagern sich in die Innenwelt. Das Prinzip der Gegensätze (von Yin und Yang) bleibt weiterhin in Kraft. Nur der Schauplatz hat sich geändert.

Während der Verlagerung und der Austragung der inneren Konflikte wächst die Bewusstheit über die Struktur der eigenen Persönlichkeit und gleichzeitig erfolgen eine Erweiterung des Bewusstseins und die Klarheit des Geistes.

Der geistige Horizont erweitert sich auf dem Pfad in doppelter Sicht: Erweiterung von Wissen und Wahrnehmung. Das sind die Früchte des Weges und der Konfrontation mit den Strauchdieben die im eigenen Unbewussten lauern und mich dumme und verlustreiche Handlungen begehen lassen.

Eine Beleidigung kann sehr teuer werden. Eine falsche Geldanlage ebenso. Die inneren Raubritter sind gefährlicher und schlimmer als die äußeren. Gegen eigene falsche Entscheidungen kann man nicht einmal rechtliche Mittel einlegen… Die Strauchdiebe können ungestraft ihr Unwesen im Unbewussten treiben…

Ich nenne diese psychischen Energien auch Motivationskräfte. Sobald Bewusstheit über die verschiedenen Arten herrscht, fallen die Selbstbeobachtung und der Umgang mit sich selbst wesentlich leichter.

 

HKD

  

Digital Art - Own Resources

 

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Richard Strauss: " Este é o verdadeiro Jardim de Klingsor e lá no alto está o castelo do Santo Graal."

Love Killer

 

Who kills what you love?

Who kills your loving feelings?

Who gives you a reason to hate?

  

HKD

  

Hooked on a Feeling

 

I hate the one who killed my bird

I hate the one who killed

I hate the one

Oh!

I hate the One

Hahahahaha!

My self is hating!

Hahahahaha!

  

HKD

  

Ravello, Costiera Amalfitana, Campania, Italia©2015 All rights reserved

Nikon coolpix p 7100

Fotosketcher oil painting mix Lively

 

Villa Ruffolo è la punta di diamante dell’immenso patrimonio storico e architettonico di Ravello. Un complesso monumentale che porta il nome della famiglia che lo realizzò e che nel massimo splendore, intorno al 13° secolo, contava”più ambienti che giorni dell’anno”. Di quell’immenso patrimonio,una parte è stata erosa dal tempo e dall’incuria, un’altra parte è stata recuperata e nuovi tasselli sono stati aggiunti in epoca più recente, a partire dalla preziosa opera dell’industriale scozzese Francis Neville Reid che ne fu proprietario tra il 19° e il 20° secolo.

In dieci secoli, al modello originario ,sintesi perfetta e unica di architettura araba , sicula e normanna, si sono sovrapposte nuove linee, da quella più pesante dei nuovi volumi del chiostro (18°secolo) a quella più romantica dei giardini ottocenteschi, fino ad arrivare ai giorni nostri, in cui gli spazi soddisfano le esigenze funzionali della fondazione Ravello, del Ravello Festival e del Centro universita

 

Il Pozzo

La parte circostante il Pozzo, ricca di rovine, piante esotiche, pini e cipressi, è quella che conquistò Richard Wagner che ritrovò materializzato “il magico giardino incantato di Klingsor”, scenografia fino ad allora presente solo nelle sue visioni fantastiche.

 

Villa Rufolo is the masterwork in Ravello’s extensive repertoire of historical and architectonic showpieces. It bears the name of the family which created it, and at the height of its importance in the 13th century it could boast “more rooms than there are days in the year”. Part of this immense heritage has been eroded by time and neglect, but much has been rescued and had new features added primary by the Scottish industrialist Francis Neville Reid, who owned the Villa at the turn of the 20th century. Whereas the original building was a perfect synthesis of Arabic, Sicilian and Norman architecture, truly unique of its kind, over the best part of thousand years this monument has had to respond to new demands, resulting in the rather heavyhanded 18th century cloister , the romantic 19th century gardens , and most recently the facilities for the Fondazione Ravello, The Ravello Festival and the Centro Universitario Europeo per i Beni culturali.

The Well

It was the area surrounding the Well, with its profusion of ruins, exotic plants, pines and cypresses, which so entranced Richard Wagner. He declared that he had found in real life “the enchanted garden of Klingsor”, a setting he had imagined for his opera Parsifal.

    

The German opera composer Richard Wagner visited the villa in 1880. He was so overcome by the beauty of the location that he imagined the setting as the garden of Klingsor in the second act of Parsifal. [Wikipedia]

Villa Rufolo is a building within the historic center of Ravello, a town in the province of Salerno, southern Italy, which overlooks the front of the cathedral square. The initial layout dates from the 13th century, with extensive remodeling in the 19th century.

 

Originally belonging to the powerful and wealthy Rufolo family who excelled in commerce (a Landolfo Rufolo has been immortalized by Boccaccio in the Decameron), it then passed by inheritance to other owners such as the Confalone, Muscettola and d'Afflitto.

 

Around the middle of the nineteenth century it was sold to the Scotsman Francis Neville Reid who took care of a general restoration, resulting in today's layout.

 

The villa is entered through an opening in the arched entrance tower, and after a short street a clearing is dominated by the Torre Maggiore: the latter facing the bell tower of the cathedral in Ravello, overlooking the terraces (upper and lower) as well as overlooking the Amalfi Coast and the Gulf of Salerno with flower gardens that are in bloom most of the year.

 

Of particular interest among the rooms of the villa is a large courtyard elevated like a cloister and some rooms forming a small museum.

 

The German opera composer Richard Wagner visited the villa in 1880. He was so overcome by the beauty of the location that he imagined the setting as the garden of Klingsor in the second act of Parsifal. In commemoration, every year the lower garden of Villa Rufolo hosts a Wagnerian concert.[Wikipedia]

Somewhere on my way to Bayreuth…

 

HKD

 

Auf dem Weg nach Bayreuth

 

Viele Male pilgerte ich nach Bayreuth zu den Richard Wagner Festspielen, die jährlich im August im Süden Deutschlands gefeiert werden. Eine der größten Opern aus dem Gesamtwerk des genialen Opernkomponisten ist für mich Parsifal.

Für mich ist dieser Musiker wie der mythische Ritter Parsifal auf dem Weg durch Zeit und Raum. Das Bewusstsein hat sich auf ein alltägliches Leben verengt, ist eingequetscht zwischen Zeitabläufen und kontinuierlich wiederkehrenden Verpflichtungen.

Die Welt im November. Der Winter kommt. Moll ist die bevorzugte Tonart. Das Leben zieht sich endlos hin im tristen Alltag und die Konzerte, die Festspiele und Highlights machen nur kurze Abschnitte aus.

Viel Zeit in meinem Leben verbrachte ich mit Warten. Wann geht es endlich los? Wann passiert etwas Essenzielles? Mir war nicht bewusst, dass das Essenzielle in jedem Augenblick abläuft. Jetzt, in diesem Augenblick in dem ich diese Zeilen schreibe, ist für mich gerade das Essenzielle da: Aufmerksamkeit für das Dasein, für das Wunder der gerade ablaufenden Schöpfung. Das Wunder ist immer da, doch die Öffnung dafür ist es nicht.

Jederzeit kann von Außen ein Angriff der dunklen Kräfte erfolgen. Wie ein Blitz stößt aus heiterem Himmel das zerstörerische Prinzip zu. Es ist so seine Art. Der Falke ist ein Jäger und die Taube seine Beute. Unschuld will zerstört werden, wenn der Weg der Bewusstwerdung ansteht.

Auf dem Pilgerweg durch Zeit und Raum geht Parsifal die Unschuld verloren. Aus Unwissenheit erschießt er den heiligen Schwan und muss daraufhin das Gralsgebiet (für mich ein Synonym für das Paradies der Kindheit) verlassen und damit verliert er seine Unbeschwertheit.

Schließlich trägt er Verantwortung und kämpft gegen die Versuchungen von Lust und Macht. Er weist das Spiel mit den Blumenmädchen von sich und widersteht auch Kundry, die ihn mit archetypischen, mütterlich erotischen Urinstinkten zu verzaubern versucht.

Parsifal wird auf seinem Weg zurück ins Gralsgebiet schließlich vom Mitgefühl geleitet und erlöst den alten Hüter des Grals, den König Amfortas von seinen Leiden, das er aufgrund einer Wunde hat, die aus dem Kampf gegen Klingsor (das dunkle Prinzip) stammt.

Auch ich habe gegen Wölfe und Drachen gekämpft, denn ich wollte ein Held werden und mir und anderen beweisen, dass ich ein erfolgreiches Leben führen und seine Herausforderungen meistern konnte. Im scharfen Wettbewerb hielt ich nicht stand. Ich konnte nicht die erste Geige spielen und trat aus dem Feld der großen Konkurrenz zurück. Seit dieser Zeit hatte ich immer wieder unter starken Gefühlen von Mangelhaftigkeit zu leiden. Ich musste vor mir zugeben: Ich bin nicht gut genug.

Doch wer oder was bin ich? Ich hatte keine Ahnung, dass ich eines Tages eben jene Tätigkeiten ausüben würde, über die von Seiten meiner Familie ein Tabu gelegt wurde. Aus der Sicht erfolgreicher Geschäftsleute war es unsinnig, sich brotlosen Künsten hinzugeben.

„Wer bei Tisch nur Liebe findet, wird nach Tische hungrig sein…“

Diese Aussage stammt von einem anderen Opernkomponisten, Albert Lortzing, wenn ich mich recht erinnere. Dank meiner fleißigen Vorfahren bin ich nach Tische nicht hungrig und dafür bin ich sehr dankbar. Ich betreibe brotlose Künste, denn ich kann mit dem Einkommen mit dem eines durchschnittlichen Angestellten nicht mithalten. Aber ich wohne mietfrei in einem geerbten Haus. Das entlastet und gibt Freiheit mit gutem Gewissen brotlose aber freudvolle Kunst zu betreiben.

Die Zeiten des grauen Alltags liegen hinter mir. Die Freude an der kindlichen Schaffenskraft ist eine Sonne, die selbst die grauen Wintermonate über scheint. Ich höre Musik. Nicht nur das Drama der wagnerianischen Musik, auch das Wunder der Zauberflöte von Mozart.

Leichtigkeit und Tiefe wechseln wie die Gezeiten des Meeres. Dur und Moll.

Der Künstler wartet auf seinen nächsten Einsatz. Und er freut sich drauf… Jetzt, in diesem Augenblick!

 

HKD

  

Digital Art – own resources

 

HKD

 

Composer Richard Wagner was so impressed with the Gardens at the Villa Rufolo that he stayed in Ravello long enough to write the sumptuous second act of his final opera Parsifal. He made the trip from the coast by donkey. We took a bus.

Esta foto participó en el juego www.flickr.com/groups/enunlugardeflickr

 

El Castillo de Quermançó (X-XIX) que se halla en el municipio de VilajuÏga, comarca de l´Alt Empordà, provincia de Girona, Cataluña, España.

 

Este castillo está relacionado con los siete enigmas que quedaron en las leyendas que envuelven esta fortaleza:

1. Su laberinto: Dicen que dentro de la roca en que se levanta el castillo se esconde un laberinto que atraviesa la sierra cercana y se extiende hacia el Port de la Selva terminándose cerca de la orilla del mar. Y algunos pasos subterráneos de este laberinto se cruzan con los pasos del laberinto del Monasterio de Sant Pere de Rodes. En las cuevas de este laberinto escondían sus tesoros los piratas y se llevaban las conversaciones secretas entre los abades del monasterio, los habitantes y algunos visitantes muy importantes del castillo que no querían revelar sus contactos...

 

2. Su tesoro: El tesoro más famoso del Castillo de Quermançó es la Cabra de Oro... incluso dibujada por Salvador Dalí. De acuerdo con una versión, esta cabra le pertenecía a un rey moro que habitaba en la fortaleza y desapareció con sus tesoros en el laberinto subterráneo, cuando llegaron los cristianos.

Según otra leyenda, esta cabra pertenecía a los judíos que vivían en la vecina VilajuÏga (o "Villa Judía" - en castellano). Ellos la escondieron junto con sus tesoros en el laberinto del castillo antes de ser expulsados del país en 1492.

La tercera leyenda afirma que este tesoro es una parte secreta del archivo de los condes de Empuries que habitaban en este castillo.

La cuarta leyenda menciona los tesoros de los bandoleros que residían en este castillo.

La quinta leyenda narra de los tesoros del mago que vivía aquí en la época de los condes de Empuries...

 

3. Su archivo secreto: Los condes de Empuries que fueron señores de este castillo tenían varias capitales y muchas otras fortalezas. Pero está confirmado documentalmente que ellos guardaban su archivo precisamente en este castillo. La leyenda afirma que los condes preferían guardar su archivo en este lugar porque allí había algunos documentos secretos de valor incalculable que se podía esconder bien sólo en el laberinto de Quermançó...

 

4. El mago: De acuerdo con una leyenda, en este castillo vivía un misterioso "mago personal" de los condes de Empuries y su laboratorio secreto se encontraba en el laberinto subterráneo.

Según otra leyenda aquí habitaba el mago Klingsor de Hungría relacionado con el Santo Grial. Y por tanto el nombre de Quermançó proviene de "Klingsor"... Pues la cercana montaña de Verdera era el escenario de los principales episodios del Misterio del Santo Grial, porque allí se encontraba el Castillo de Sant Salvador, cuyo nombre se asocia con el de Monsalvat...

 

5. La misteriosa condesa de Molins: Cuentan varias leyendas que en este castillo vivía la condesaTeresa de Molins, natural de S. Pere Pescador. Ella abandonó la vida noble para dirigir a un grupo de bandoleros. Recluida durante un tiempo en un convento de Garriguella, ella se escapó para unirse a los bandoleros que se escondían entre las ruinas del Castillo de Quermançó. A causa de los celos u otros divergencias con sus compañeros, la condesa puso fin a la situación una noche de verano de 1826: ella bajó al sótano con una antorcha, encendió la pólvora que quedaba de los franceses y voló el castillo...

 

6. La fantasía de Salvador Dalí: Otra leyenda muy famosa de Quermançó surgió en el siglo XX, cuando el mundialmente famoso pintor Salvador Dalí expresó su deseo de adquirir este castillo y regalarlo a su musa Gala explicando su elección con el hecho de que desde esta fortaleza se puede ver las puestas de sol más espectaculares del mundo. Pero, como en vez del Castillo de Quermançó él adquirió el Castillo de Púbol, las razones de este acontecimiento dieron lugar a diferentes interpretaciones a las cuales se unieron las sugerencias de Dalí por poner en el sótano del castillo a un rinoceronte para atraer a los turistas e instalar en la fortaleza el Órgano de la Tramuntana, el viento del norte, que iba a funcionar aprovechando su fuerza y transmitir una música surrealista generada por sus sonidos...

Ahora ya es imposible determinar, si estas sugerencias fueron pronunciadas en broma o en serio, pero los propietarios actuales del castillo, un grupo de los hombres de negocios de l´Alt Empordà se proponen a realizar este proyecto. La inauguración del Órgano de Tramontana fue anunciada para el año 2004 conmemorando el aniversario de Dalí, pero fue aplazada "por las razones burocráticas"...

 

7. Los esqueletos encontrados: En septiembre de 2003 fueron publicadas las noticias sobre los trabajos arqueológicos en el recinto del castillo que dieron lugar a otras suposiciones y leyendas relacionadas con Quermançó. Pues en el patio de la fortaleza fueron localizados las edificaciones del siglo XV y un muro más antiguo cerca del cual había dos esqueletos: un adulto y una criatura, "enterrados sin algún cuidado"...

 

La historia y las versiones más famosas de las leyendas de este castillo están bien presentadas en el enlace siguiente:

www.castelldequermanco.es/web-alt/index-es.htm

 

In my Mind

 

I don’t want you

 

Madness has got me

My body wants you

 

My body is me

I want you

To play life

  

HKD

  

I mistrust you

I distrust myself

  

The deamon of distrust can be very painful

The angel of trust can be very joyful

Yin and Yang are playing together

 

HKD

 

Luzifer - der verbannte Sohn Gottes

  

If you like see my YouTube Video:

 

"Dark Night of the Soul"

 

www.youtube.com/user/koppdelaney#p/a/u/1/EaRQPzamppo

Depression

 

Self-Destruction

Self-Hate

Self-Portrait as Hades

  

HKD

 

When Hades is doing my Make-up... :-(((

 

Hades – das sind rabenschwarze Gedanken

Unglückliche Gedanken

Pessimistische Gedanken.

Der Selbstwert des Egos wird zerstört.

Die schamanische Zerstückelung.

Die alchimistische Zersetzung im Kolben.

Zersetzung – Verwesung – Auflösung – Untergang

Das ist tiefste Depression

 

Depression hervorgerufen durch einen Fluch. Wer hat dich in die Hölle geschickt?

Wer hat dich verdammt? Was ist dein göttlicher Fluch – in diesem Leben – vielleicht in einer früheren Inkarnation?

Die Folge einer Verdammung (Fluches) ist der Verlust des Vertrauens (in Gott, in sich selbst).

 

Hades, das ist ein in die psychische Unterwelt gestürzter Mensch. Selbstanklage, Selbstzweifel, Selbstverletzung und tiefschürfende, grüblerische Gedanken. Das ist die Phase der Selbstgeißelung oder der Buße. Büßer tragen das Büßergewand, dunkle Kleidung, grau oder schwarz, introvertiert, weltabgewandt.

In der Mythologie gibt es zahlreiche Beispiele.

Der Fliegende Holländer ist eine verfluchte Seele und auch Dracula, der Vampir.

Klingsor – ich spiel auf Richard Wagners Oper Parsifal an – ist eine verfluchte Seele, von der Tafelrunde der Ritter ausgeschlossen wird er zum Feind der lichten Ordnung der Oberwelt. Klingsors Fluch – die dunkle Macht des Speeres – schlägt dem König Amfortas eine nicht heilende Wunde. Doch dann kommt der Erlöser, Parsifal, der reine (unparteiische) Tor. Er gehört weder zur Ober- noch zur Unterwelt. Er, der Herr der Mitte, gewinnt den Speer und kann Amfortas heilen. Der Konflikt wird gelöst. Die Unterwelt verschwindet und auch Amfortas kann endlich Erlösung finden und sterben.

  

HKD

  

Durch die Rückkehr des Göttlichen Kindes wird ein Mensch aus dem Hades erlöst und bringt die Geschenke der Tiefe mit an die Oberfläche. (Vorausgesetzt, es gelingt ihm, wieder an die Oberfläche zu kommen und nicht in der Höhle im Himalaya (in Meditation) sitzen zu bleiben. Man muss wieder im Leben auftauchen, sonst ist man für dieses jetzige Leben verloren.

   

HKD

  

Der dunkle und melancholische Aspekt gehört zu den Grundeigenschaften des Typs B3.

Er neigt zu Tiefsinnigkeit und Erforschung seiner Selbst.

 

Der hier gezeigt Aspekt gehört zu den schwierigsten, die es zu meistern gilt. Die Konfrontation mit der seelischen Unterwelt gehört zu den Lebensabschnitten des B3er.

 

Der psychologische Beruf sei nur beispielhaft genannt für viele andere in diesem Bereich. Ob Heilpraktiker oder Dichter, ob Pfarrer oder spiritueller Lehrer, neben seinen künstlerischen Talenten weist B3 einen menschenfreundlichen und nach Bewusstheit strebenden spirituellen Aspekt auf.

 

Natürlich habe auch ich einen sehr ausgeprägten B3er Anteil in mir, einen dunklen wie auch einen hellen. Der dunkle ist die Melancholie und der helle die Liebe des Herzens. Der B3er ist der "sensible Herztyp" schlechthin. Er ist auch der Künstler und hat den griechischen Gott Hephaistos zum Paten. Hephaistos - auch Vulkan - genannt, galt als genialer Künstler.

Ist seine Energie in mir aktiv, darf ich Bilder erschaffen wie das obie Selbstportrait. Aber natürlich auch bunte, lebensfrohe und herzliche... ;-)))

 

HKD

 

If you like see my YouTube Video:

 

"Dark Night of the Soul"

 

www.youtube.com/user/koppdelaney#p/a/u/1/EaRQPzamppo

 

Villa Rufolo is a building within the historic center of Ravello, a town in the province of Salerno, southern Italy, which overlooks the front of the cathedral square. The initial layout dates from the 13th century, with extensive remodeling in the 19th century.

 

Originally belonging to the powerful and wealthy Rufolo family who excelled in commerce (a Landolfo Rufolo has been immortalized by Boccaccio in the Decameron), it then passed by inheritance to other owners such as the Confalone, Muscettola and d'Afflitto.

 

Around the middle of the nineteenth century it was sold to the Scotsman Francis Neville Reid who took care of a general restoration, resulting in today's layout.

 

The villa is entered through an opening in the arched entrance tower, and after a short street a clearing is dominated by the Torre Maggiore: the latter facing the bell tower of the cathedral in Ravello, overlooking the terraces (upper and lower) as well as overlooking the Amalfi Coast and the Gulf of Salerno with flower gardens that are in bloom most of the year.

 

Of particular interest among the rooms of the villa is a large courtyard elevated like a cloister and some rooms forming a small museum.

 

The German opera composer Richard Wagner visited the villa in 1880. He was so overcome by the beauty of the location that he imagined the setting as the garden of Klingsor in the second act of Parsifal. In commemoration, every year the lower garden of Villa Rufolo hosts a Wagnerian concert.[Wikipedia]

According to a german legend, a battle between several minstrels and poets took place at the Wartburg in Thuringia(Germany). In the course of events a demon was summoned by the wizards Klingsor. This demon was then banished by Wolfram von Eschenbach's Song.

The Postcard

 

A postally unused postkarte that was published by Ottmar Zieher of Munich. The card has a divided back.

 

Richard Wagner

 

Wilhelm Richard Wagner, who was born on the 22nd. May 1813, was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works.

 

Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to the drama.

 

He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen.

 

Richard's compositions, particularly those of his later period, are notable for their complex textures, rich harmonies and orchestration. He also used leitmotifs—musical phrases associated with individual characters, places, ideas, or plot elements.

 

His advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, greatly influenced the development of classical music.

 

Richard's Tristan und Isolde is sometimes described as marking the start of modern music.

 

Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. Bayreuth is a town on the Red Main river in Bavaria. At its center is the Richard Wagner Museum in the composer's former home, Villa Wahnfried.

 

The Ring and Parsifal were premiered at the Festspielhaus, and Wagner's most important stage works continue to be performed at the annual Bayreuth Festival, run by his descendants.

 

Richard's thoughts on the relative contributions of music and drama in opera were to change again, and he reintroduced some traditional forms into his last few stage works, including Die Meistersinger von Nürnberg.

 

Until his final years, Wagner's life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors.

 

His controversial writings on music, drama and politics have attracted extensive comment – particularly since the late 20th. century, where they express antisemitic sentiments.

 

The effect of his ideas can be traced in many of the arts throughout the 20th. century; his influence spread beyond composition into conducting, philosophy, literature, the visual arts and theatre.

 

Richard Wagner - The Early Years

 

Richard Wagner was born to an ethnic German family in Leipzig, who lived at No 3, the Brühl (The House of the Red and White Lions) in the Jewish quarter on the 22nd. May 1813.

 

He was baptized at St. Thomas Church. He was the ninth child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife, Johanna Rosine (née Paetz), the daughter of a baker.

 

Wagner's father Carl died of typhoid fever six months after Richard's birth. Afterwards, his mother Johanna lived with Carl's friend, the actor and playwright Ludwig Geyer. In August 1814 Johanna and Geyer probably married—although no documentation of this has been found in the Leipzig church registers.

 

Johanna and her family moved to Geyer's residence in Dresden, and until he was fourteen, Wagner was known as Wilhelm Richard Geyer. He almost certainly thought that Geyer was his biological father.

 

Geyer's love of the theatre came to be shared by his stepson, and Wagner took part in his performances. In his autobiography Mein Leben, Wagner recalled once playing the part of an angel.

 

In late 1820, Wagner was enrolled at Pastor Wetzel's school at Possendorf, near Dresden, where he received piano instruction from his Latin teacher. However Richard struggled to play a proper scale at the keyboard, and preferred playing theatre overtures by ear.

 

Following Geyer's death in 1821, Richard was sent to the Kreuzschule, the boarding school of the Dresdner Kreuzchor, at the expense of Geyer's brother.

 

At the age of nine he was hugely impressed by the Gothic elements of Carl Maria von Weber's opera Der Freischütz, which he saw Weber conduct.

 

During this period, Wagner entertained ambitions as a playwright. His first creative effort was a tragedy called Leubald. Begun when he was at school in 1826, the play was strongly influenced by Shakespeare and Goethe.

 

Wagner was determined to set it to music, and persuaded his family to allow him music lessons.

 

By 1827, the family had returned to Leipzig. Wagner's first lessons in harmony were taken during 1828–1831 with Christian Gottlieb Müller.

 

In January 1828 he first heard Beethoven's 7th. Symphony and then, in March, the same composer's 9th. Symphony. Beethoven became a major inspiration, and Wagner wrote a piano transcription of the 9th. Symphony.

 

Richard was also greatly impressed by a performance of Mozart's Requiem.

 

Wagner's early piano sonatas and his first attempts at orchestral overtures date from this period.

 

In 1829 Richard saw a performance by dramatic soprano Wilhelmine Schröder-Devrient, and she became his ideal of the fusion of drama and music in opera. In Mein Leben, Wagner wrote:

 

"When I look back across my entire life

I find no event to place beside this in

the impression it produced on me.

The profoundly human and ecstatic

performance of this incomparable artist

kindled in me an almost demonic fire."

 

In 1831, Wagner enrolled at Leipzig University, where he became a member of the Saxon student fraternity. He took composition lessons with the Thomaskantor Theodor Weinlig.

 

Weinlig was so impressed with Wagner's musical ability that he refused any payment for his lessons. He arranged for his pupil's Piano Sonata in B-flat major (which was consequently dedicated to him) to be published as Wagner's Op. 1.

 

A year later, Wagner composed his Symphony in C major, a Beethovenesque work performed in Prague in 1832 and at the Leipzig Gewandhaus in 1833.

 

He then began to work on an opera, Die Hochzeit (The Wedding), which he never completed.

 

Richard Wagner's Early Career and Marriage (1833–1842)

 

In 1833, Wagner's brother Albert managed to obtain for him a position as choirmaster at the theatre in Würzburg. In the same year, at the age of 20, Wagner composed his first complete opera, Die Feen (The Fairies).

 

This work, which imitated the style of Weber, went unproduced until half a century later, when it premiered in Munich shortly after the composer's death in 1883.

 

Having returned to Leipzig in 1834, Wagner held a brief appointment as musical director at the opera house in Magdeburg during which he wrote Das Liebesverbot (The Ban on Love), based on Shakespeare's Measure for Measure.

 

The work was staged at Magdeburg in 1836, but closed before the second performance. This, together with the financial collapse of the theatre company employing him, left Richard bankrupt.

 

Wagner had fallen for one of the leading ladies at Magdeburg, the actress Christine Wilhelmine "Minna" Planer, and after the disaster of Das Liebesverbot he followed her to Königsberg, where she helped him to get an engagement at the theatre.

 

They married in Tragheim Church on the 24th. November 1836, although In May 1837, Minna left Wagner for another man. This was however only the first débâcle of a tempestuous marriage.

 

In June 1837, Wagner moved to Riga (then part of the Russian Empire), where he became music director of the local opera; having in this capacity engaged Minna's sister Amalie (also a singer) for the theatre, he resumed relations with Minna during 1838.

 

By 1839, the couple had amassed such large debts that they fled Riga on the run from creditors. In fact, debts plagued Wagner for most of his life.

 

Initially they took a stormy sea passage to London, from which Wagner drew the inspiration for his opera Der Fliegende Holländer (The Flying Dutchman), with a plot based on a sketch by Heinrich Heine.

 

The Wagners settled in Paris in September 1839 and stayed there until 1842. Wagner made a scant living by writing articles and short novelettes such as A pilgrimage to Beethoven, which sketched his growing concept of "music drama", and An end in Paris, where he depicts his own miseries as a German musician in the French metropolis.

 

Richard also provided arrangements of operas by other composers, largely on behalf of the Schlesinger publishing house. During this stay he completed his third and fourth operas Rienzi and Der Fliegende Holländer.

 

Richard Wagner in Dresden (1842–1849)

 

Wagner had completed Rienzi in 1840. With the strong support of Giacomo Meyerbeer, it was accepted for performance by the Dresden Court Theatre (Hofoper) in the Kingdom of Saxony.

 

In 1842, Wagner moved to Dresden. His relief at returning to Germany was recorded in his "Autobiographic Sketch" of 1842, where he wrote that, en route from Paris:

 

"For the first time I saw the Rhine—

with hot tears in my eyes, I, poor

artist, swore eternal fidelity to my

German fatherland."

 

Rienzi was staged to considerable acclaim on the 20th. October 1842.

 

Wagner lived in Dresden for the next six years, eventually being appointed the Royal Saxon Court Conductor. During this period, he staged there Der Fliegende Holländer (2nd. January 1843) and Tannhäuser (19th. October 1845), the first two of his three middle-period operas.

 

Wagner also mixed with artistic circles in Dresden, including the composer Ferdinand Hiller and the architect Gottfried Semper.

 

Wagner's involvement in left-wing politics abruptly ended his welcome in Dresden. Wagner was active among socialist German nationalists there, regularly receiving such guests as the conductor and radical editor August Röckel and the Russian anarchist Mikhail Bakunin.

 

Richard was also influenced by the ideas of Pierre-Joseph Proudhon and Ludwig Feuerbach. Widespread discontent came to a head in 1849, when the unsuccessful May Uprising in Dresden broke out, in which Wagner played a minor supporting role.

 

A warrant for the arrest of Richard Wagner was issued on the 16th. May 1849, along with warrants for other revolutionaries.

 

Wagner had to flee, first visiting Paris and then settling in Zürich where he at first took refuge with a friend, Alexander Müller.

 

Richard Wagner In Exile: Switzerland (1849–1858)

 

Wagner spent the next twelve years in exile from Germany. He had completed Lohengrin, the last of his middle-period operas, before the Dresden uprising, and now wrote desperately to his friend Franz Liszt to have it staged in his absence. Liszt conducted the premiere in Weimar in August 1850.

 

Wagner was in grim personal straits, isolated from the German musical world and without any regular income. In 1850, Julie, the wife of his friend Karl Ritter, began to pay him a small pension which she maintained until 1859.

 

With help from her friend Jessie Laussot, this was to have been augmented to an annual sum of 3,000 thalers per year, but the plan was abandoned when Wagner began an affair with Mme. Laussot.

 

Wagner even plotted an elopement with her in 1850, which her husband prevented. Meanwhile, Wagner's wife Minna, who had disliked the operas he had written after Rienzi, was falling into a deepening depression. Wagner fell victim to ill-health, according to Ernest Newman "Largely a matter of overwrought nerves", which made it difficult for him to continue writing.

 

Wagner's primary published output during his first years in Zürich was a set of essays. In "The Artwork of the Future" (1849), he described a vision of opera as Gesamtkunstwerk (total work of art), in which music, song, dance, poetry, visual arts and stagecraft were unified.

 

"Judaism in Music" (1850) was the first of Wagner's writings to feature antisemitic views. In this polemic Wagner argued, frequently using traditional antisemitic abuse, that Jews had no connection to the German spirit, and were thus capable of producing only shallow and artificial music.

 

According to him, they composed music to achieve popularity and, thereby, financial success, as opposed to creating genuine works of art.

 

In "Opera and Drama" (1851), Wagner described the aesthetics of music drama that he was using to create the Ring cycle. Before leaving Dresden, Wagner had drafted a scenario that eventually became Der Ring des Nibelungen.

 

He initially wrote the libretto for a single opera, Siegfrieds Tod (Siegfried's Death), in 1848. After arriving in Zürich, he expanded the story with Der junge Siegfried (Young Siegfried), which explored the hero's background.

 

He completed the text of the cycle by writing the libretti for Die Walküre (The Valkyrie) and Das Rheingold (The Rhine Gold) and revising the other libretti to conform to his new concept, completing them in 1852.

 

The concept of opera expressed in "Opera and Drama" and in other essays effectively renounced all the operas he had previously written through Lohengrin. Partly in an attempt to explain his change of views, Wagner published in 1851 the autobiographical "A Communication to My Friends".

 

This included his first public announcement of what was to become the Ring cycle:

 

"I shall never write an Opera more. As I have

no wish to invent an arbitrary title for my works,

I will call them Dramas ... I propose to produce

my myth in three complete dramas, preceded

by a lengthy Prelude (Vorspiel).

At a specially-appointed Festival, I propose,

at some future time, to produce those three

Dramas with their Prelude, in the course of

three days and a fore-evening."

 

Wagner began composing the music for Das Rheingold between November 1853 and September 1854, following it immediately with Die Walküre (written between June 1854 and March 1856).

 

He began work on the third Ring drama, which he now called simply Siegfried, probably in September 1856, but by June 1857 he had completed only the first two acts.

 

He decided to put the work aside in order to concentrate on a new idea: Tristan und Isolde, based on the Arthurian love story Tristan and Iseult.

 

One source of inspiration for Tristan und Isolde was the philosophy of Arthur Schopenhauer, notably his The World as Will and Representation, to which Wagner had been introduced in 1854 by his poet friend Georg Herwegh.

 

Wagner later called this the most important event of his life. His personal circumstances certainly made him an easy convert to what he understood to be Schopenhauer's philosophy, a deeply pessimistic view of the human condition. He remained an adherent of Schopenhauer for the rest of his life.

 

One of Schopenhauer's doctrines was that music held a supreme role in the arts as a direct expression of the world's essence, namely, blind, impulsive will.

 

This doctrine contradicted Wagner's view, expressed in "Opera and Drama", that the music in opera had to be subservient to the drama. Wagner scholars have argued that Schopenhauer's influence caused Wagner to assign a more commanding role to music in his later operas, including the latter half of the Ring cycle, which he had yet to compose.

 

Aspects of Schopenhauerian doctrine found their way into Wagner's subsequent libretti.

 

A second source of inspiration was Wagner's infatuation with the poet-writer Mathilde Wesendonck, the wife of the silk merchant Otto Wesendonck. Wagner met the Wesendoncks, who were both great admirers of his music, in Zürich in 1852.

 

From May 1853 onwards Wesendonck made several loans to Wagner to finance his household expenses in Zürich, and in 1857 placed a cottage on his estate at Wagner's disposal, which became known as the Asyl ("asylum" or "place of rest").

 

During this period, Wagner's growing passion for his patron's wife inspired him to put aside work on the Ring cycle (which was not resumed for the next twelve years) and begin work on Tristan.

 

While planning the opera, Wagner composed the Wesendonck Lieder, five songs for voice and piano, setting poems by Mathilde. Two of these settings are explicitly subtitled by Wagner as "Studies for Tristan und Isolde".

 

Among the conducting engagements that Wagner undertook for revenue during this period, he gave several concerts in 1855 with the Philharmonic Society of London, including one before Queen Victoria. The Queen enjoyed his Tannhäuser overture and spoke with Wagner after the concert, writing in her diary that:

 

"Wagner was short, very quiet, wears

spectacles & has a very finely-developed

forehead, a hooked nose & projecting

chin."

 

Richard Wagner in Exile: Venice and Paris (1858–1862)

 

Wagner's uneasy affair with Mathilde collapsed in 1858, when Minna intercepted a letter to Mathilde from him. After the resulting confrontation with Minna, Wagner left Zürich alone, bound for Venice, where he rented an apartment in the Palazzo Giustinian, while Minna returned to Germany.

 

Wagner's attitude to Minna had changed; the editor of his correspondence with her, John Burk, has said that:

 

"She was to him an invalid, to be treated

with kindness and consideration, but,

except at a distance, was a menace to

his peace of mind."

 

Wagner continued his correspondence with Mathilde and his friendship with her husband Otto, who maintained his financial support. In an 1859 letter to Mathilde, Wagner wrote, half-satirically, of Tristan:

 

"Child! This Tristan is turning into something

terrible. This final act!!!—I fear the opera will

be banned ... only mediocre performances

can save me!

Perfectly good ones will be bound to drive

people mad."

 

In November 1859, Wagner once again moved to Paris to oversee production of a new revision of Tannhäuser, staged thanks to the efforts of Princess Pauline von Metternich, whose husband was the Austrian ambassador in Paris.

 

The performances of the Paris Tannhäuser in 1861 were a notable fiasco. This was partly a consequence of the conservative tastes of the Jockey Club, which organised demonstrations in the theatre to protest at the presentation of the ballet feature in act 1 (instead of its traditional location in the second act).

 

The opportunity was also exploited by those who wanted to use the occasion as a veiled political protest against the pro-Austrian policies of Napoleon III. It was during this visit that Wagner met the French poet Charles Baudelaire, who wrote an appreciative brochure, "Richard Wagner et Tannhäuser à Paris".

 

The opera was withdrawn after the third performance, and Wagner left Paris soon after. He had sought a reconciliation with Minna during this Paris visit, and although she joined him there, the reunion was not successful, and they again parted from each other when Wagner left.

 

Richard Wagner's Return and Resurgence (1862–1871)

 

The political ban that had been placed on Wagner in Germany after he had fled Dresden was fully lifted in 1862. The composer settled in Biebrich, on the Rhine near Wiesbaden.

 

Here Minna visited him for the last time: they parted irrevocably, though Wagner continued to give financial support to her while she lived in Dresden until her death in 1866.

 

In Biebrich, Wagner at last began work on Die Meistersinger von Nürnberg, his only mature comedy. Wagner wrote a first draft of the libretto in 1845, and he had resolved to develop it during a visit he had made to Venice with the Wesendoncks in 1860, where he was inspired by Titian's painting The Assumption of the Virgin.

 

Throughout this period (1862–1864) Wagner sought to have Tristan und Isolde produced in Vienna. Despite many rehearsals, the opera remained unperformed, and gained a reputation as being "impossible" to sing, which added to Wagner's financial problems.

 

Wagner's fortunes took a dramatic upturn in 1864, when King Ludwig II succeeded to the throne of Bavaria at the age of 18. The young king, an ardent admirer of Wagner's operas, had the composer brought to Munich.

 

The King, who was homosexual, expressed in his correspondence a passionate personal adoration for the composer, and Wagner in his responses had no scruples about feigning reciprocal feelings.

 

Ludwig settled Wagner's considerable debts, and proposed to stage Tristan, Die Meistersinger, the Ring, and the other operas Wagner planned.

 

Wagner also began to dictate his autobiography, Mein Leben, at the King's request. Wagner noted that his rescue by Ludwig coincided with news of the death of his earlier mentor (but later supposed enemy) Giacomo Meyerbeer. Wagner wrote:

 

"I regretted that this operatic master,

who had done me so much harm,

should not have lived to see this day."

 

After grave difficulties in rehearsal, Tristan und Isolde premiered at the National Theatre Munich on the 10th. June 1865, the first Wagner opera premiere in almost 15 years. (The premiere had been scheduled for the 15th. May, but was delayed by bailiffs acting for Wagner's creditors, and also because the Isolde, Malvina Schnorr von Carolsfeld, was hoarse and needed time to recover.)

 

The conductor of this premiere was Hans von Bülow, whose wife, Cosima, had given birth in April that year to a daughter, named Isolde, a child not of Bülow but of Wagner.

 

Cosima was 24 years younger than Wagner and was herself illegitimate, the daughter of the Countess Marie d'Agoult, who had left her husband for Franz Liszt.

 

Liszt initially disapproved of his daughter's involvement with Wagner, though nevertheless, the two men were friends. The indiscreet affair scandalised Munich, and Wagner also fell into disfavour with many leading members of the court, who were suspicious of his influence on the King.

 

In December 1865, Ludwig was finally forced to ask the composer to leave Munich. He apparently also toyed with the idea of abdicating to follow his hero into exile, but Wagner quickly dissuaded him.

 

Ludwig installed Wagner at the Villa Tribschen, beside Switzerland's Lake Lucerne. Die Meistersinger was completed at Tribschen in 1867, and premiered in Munich on the 21st. June the following year.

 

At Ludwig's insistence, "special previews" of the first two works of the Ring, Das Rheingold and Die Walküre, were performed at Munich in 1869 and 1870. However Wagner retained his dream, first expressed in "A Communication to My Friends", of presenting the first complete cycle at a special festival in a new, dedicated, opera house.

 

Not everyone was impressed by Wagner's work at the time; on the cover of the 18th. April 1869 edition of L'Éclipse, André Gill suggested that Wagner's music was ear-splitting. He produced a cartoon showing a misshapen figure of a man with a tiny body below a head with prominent nose and chin standing on the lobe of a human ear. The figure is hammering the sharp end of a crochet symbol into the inner part of the ear as blood pours out.

 

Minna died of a heart attack on the 25th. January 1866 in Dresden. Wagner did not attend the funeral. Following Minna's death Cosima wrote to Hans von Bülow several times asking him to grant her a divorce, but Bülow refused to concede this.

 

He consented only after she had two more children with Wagner; another daughter, named Eva, after the heroine of Meistersinger, and a son Siegfried, named for the hero of the Ring.

 

The divorce was finally sanctioned, after delays in the legal process, by a Berlin court on the 18th. July 1870. Richard and Cosima's wedding took place on the 25th. August 1870.

 

On Christmas Day of that year, Wagner arranged a surprise performance (its premiere) of the Siegfried Idyll for Cosima's birthday. The marriage to Cosima lasted to the end of Wagner's life.

 

Wagner, settled into his new-found domesticity, turned his energies towards completing the Ring cycle. However he had not abandoned polemics: he republished his 1850 pamphlet "Judaism in Music", originally issued under a pseudonym, under his own name in 1869.

 

He extended the introduction, and wrote a lengthy additional final section. The publication led to several public protests at early performances of Die Meistersinger in Vienna and Mannheim.

 

Richard Wagner in Bayreuth (1871–1876)

 

In 1871, Wagner decided to move to Bayreuth, which was to be the location of his new opera house. The town council donated a large plot of land—the "Green Hill"—as a site for the theatre.

 

The Wagners moved to the town the following year, and the foundation stone for the Bayreuth Festspielhaus ("Festival Theatre") was laid.

 

Wagner initially announced the first Bayreuth Festival, at which for the first time the Ring cycle would be presented complete, for 1873, but since Ludwig had declined to finance the project, the start of building was delayed, and the proposed date for the festival was deferred.

 

To raise funds for the construction, "Wagner societies" were formed in several cities, and Wagner began touring Germany conducting concerts. By the spring of 1873, only a third of the required funds had been raised; further pleas to Ludwig were initially ignored, but early in 1874, with the project on the verge of collapse, the King relented and provided a loan.

 

The full building programme included the family home, "Wahnfried", into which Wagner, with Cosima and the children, moved from their temporary accommodation on the 18th. April 1874. Wagner was ultimately laid to rest in the Wahnfried garden; in 1977 Cosima's ashes were placed alongside Wagner's body. The grave is shown in the photograph.

 

The theatre was completed in 1875, and the festival scheduled for the following year. Commenting on the struggle to finish the building, Wagner remarked to Cosima:

 

"Each stone is red with

my blood and yours".

 

For the design of the Festspielhaus, Wagner appropriated some of the ideas of his former colleague, Gottfried Semper, which he had previously solicited for a proposed new opera house at Munich.

 

Wagner was responsible for several theatrical innovations at Bayreuth; these included darkening the auditorium during performances, and placing the orchestra in a pit out of view of the audience.

 

The Festspielhaus finally opened on the 13th. August 1876 with Das Rheingold, at last taking its place as the first evening of the complete Ring cycle. The 1876 Bayreuth Festival therefore saw the premiere of the complete cycle, performed as a sequence as the composer had intended.

 

The 1876 Festival consisted of three full Ring cycles (under the baton of Hans Richter). At the end, critical reactions ranged between that of the Norwegian composer Edvard Grieg, who thought the work "divinely composed", and that of the French newspaper Le Figaro, which called the music "The dream of a lunatic".

 

The disillusioned included Wagner's friend and disciple Friedrich Nietzsche, who, having published his eulogistic essay "Richard Wagner in Bayreuth" before the festival as part of his Untimely Meditations, was bitterly disappointed by what he saw as Wagner's pandering to increasingly exclusivist German nationalism; his breach with Wagner began at this time.

 

The festival firmly established Wagner as an artist of European, and indeed world, importance: attendees included Kaiser Wilhelm I, the Emperor Pedro II of Brazil, Anton Bruckner, Camille Saint-Saëns and Pyotr Ilyich Tchaikovsky.

 

Wagner was far from satisfied with the Festival; Cosima recorded that months later, his attitude towards the productions was:

 

"Never again, never again!"

 

Moreover, the festival finished with a deficit of about 150,000 marks. The expenses of Bayreuth and of Wahnfried meant that Wagner still sought further sources of income by conducting or taking on commissions such as the Centennial March for America, for which he received $5000.

 

Richard Wagner - The Final Years (1876–1883)

 

Following the first Bayreuth Festival, Wagner began work on Parsifal, his final opera. The composition took four years, much of which Wagner spent in Italy for health reasons.

 

From 1876 to 1878 Wagner also embarked on the last of his documented emotional liaisons, this time with Judith Gautier, whom he had met at the 1876 Festival.

 

Wagner was also much troubled by problems of financing Parsifal, and by the prospect of the work being performed by other theatres than Bayreuth. He was once again assisted by the liberality of King Ludwig, but was still forced by his personal financial situation in 1877 to sell the rights of several of his unpublished works (including the Siegfried Idyll) to the publisher Schott.

 

Wagner wrote several articles in his later years, often on political topics, and often reactionary in tone, repudiating some of his earlier, more liberal, views.

 

These include "Religion and Art" (1880) and "Heroism and Christianity" (1881), which were printed in the journal Bayreuther Blätter, published by his supporter Hans von Wolzogen.

 

Wagner's sudden interest in Christianity at this period, which infuses Parsifal, was contemporary with his increasing alignment with German nationalism, and required on his part, and the part of his associates, "the rewriting of some recent Wagnerian history", so as to represent, for example, the Ring as a work reflecting Christian ideals.

 

Many of these later articles, including "What is German?" (1878, but based on a draft written in the 1860's), repeated Wagner's antisemitic preoccupations.

 

Wagner completed Parsifal in January 1882, and a second Bayreuth Festival was held for the new opera, which premiered on the 26th. May.

 

Wagner was by this time extremely ill, having suffered a series of increasingly severe angina attacks.

 

During the sixteenth and final performance of Parsifal on the 29th. August, he entered the pit unseen during act 3, took the baton from conductor Hermann Levi, and led the performance to its conclusion.

 

After the festival, the Wagner family journeyed to Venice for the winter. Wagner died of a heart attack at the age of 69 on the 13th. February 1883 at Ca' Vendramin Calergi, a 16th.-century palazzo on the Grand Canal.

 

The legend that the attack was prompted by argument with Cosima over Wagner's supposedly amorous interest in the singer Carrie Pringle, who had been a Flower-maiden in Parsifal at Bayreuth, is without credible evidence.

 

After a funerary gondola bore Wagner's remains across the Grand Canal, his body was taken to Germany where it was buried in the garden of the Villa Wahnfried.

 

Richard Wagner's Works

 

Wagner's musical output is listed by the Wagner-Werk-Verzeichnis (WWV) as comprising 113 works, including fragments and projects.

 

The first complete scholarly edition of his musical works in print was commenced in 1970 under the aegis of the Bavarian Academy of Fine Arts and the Akademie der Wissenschaften und der Literatur of Mainz, and is presently (2023) under the editorship of Egon Voss.

 

It will consist of 21 volumes (57 books) of music and 10 volumes (13 books) of relevant documents and texts.

 

Richard Wagner's Early Works (to 1842)

 

Wagner's earliest attempts at opera were often uncompleted. Abandoned works include a pastoral opera based on Goethe's Die Laune des Verliebten (The Infatuated Lover's Caprice), written at the age of 17, Die Hochzeit (The Wedding), on which Wagner worked in 1832, and the singspiel Männerlist Größer als Frauenlist (Men are More Cunning than Women, 1837–1838).

 

Die Feen (The Fairies, 1833) was not performed in the composer's lifetime and Das Liebesverbot (The Ban on Love, 1836) was withdrawn after its first performance.

 

Rienzi (1842) was Wagner's first opera to be successfully staged.

 

The compositional style of these early works was conventional— the relatively more sophisticated Rienzi showing the clear influence of Grand Opera à la Spontini and Meyerbeer — and did not exhibit the innovations that would mark Wagner's place in musical history.

 

Later in life, Wagner said that he did not consider these works to be part of his oeuvre; and they have been performed only rarely in the last hundred years, although the overture to Rienzi is an occasional concert-hall piece.

 

Die Feen, Das Liebesverbot, and Rienzi were performed at both Leipzig and Bayreuth in 2013 to mark the composer's bicentenary.

 

Richard Wagner's Romantic Operas (1843–1851)

 

Wagner's middle stage output began with Der Fliegende Holländer (1843), followed by Tannhäuser (1845) and Lohengrin (1850).

 

These three operas are referred to as Wagner's "romantic operas". They reinforced the reputation, among the public in Germany and beyond, that Wagner had begun to establish with Rienzi.

 

Although distancing himself from the style of these operas from 1849 onwards, he nevertheless reworked both Der Fliegende Holländer and Tannhäuser on several occasions.

 

The three operas are considered to represent a significant developmental stage in Wagner's musical and operatic maturity as regards thematic handling, portrayal of emotions and orchestration.

 

They are the earliest works included in the Bayreuth canon, the mature operas that Cosima staged at the Bayreuth Festival after Wagner's death in accordance with his wishes.

 

All three (including the differing versions of Der Fliegende Holländer and Tannhäuser) continue to be regularly performed throughout the world, and have been frequently recorded.

 

They were also the operas by which his fame spread during his lifetime.

 

Richard Wagner's Music Dramas (1851–1882)

 

Wagner's late dramas are considered his masterpieces. Der Ring des Nibelungen, commonly referred to as the Ring or "Ring Cycle", is a set of four operas based loosely on figures and elements of Germanic mythology—particularly from the later Norse mythology—notably the Old Norse Poetic Edda and Volsunga Saga, and the Middle High German Nibelungenlied.

 

Wagner specifically developed the libretti for these operas according to his interpretation of Stabreim, highly alliterative rhyming verse-pairs used in old Germanic poetry.

 

They were also influenced by Wagner's concepts of ancient Greek drama, in which tetralogies were a component of Athenian festivals, and which he had amply discussed in his essay "Oper und Drama".

 

The first two components of the Ring cycle were Das Rheingold, which was completed in 1854, and Die Walküre, which was finished in 1856.

 

In Das Rheingold, with its "relentlessly talky 'realism' and the absence of lyrical 'numbers'", Wagner came very close to the musical ideals of his 1849–1851 essays.

 

Die Walküre, which contains what is virtually a traditional aria (Siegmund's Winterstürme in the first act), and the quasi-choral appearance of the Valkyries themselves, shows more "operatic" traits, but has been assessed by Barry Millington as:

 

"The music drama that most satisfactorily

embodies the theoretical principles of

'Oper und Drama'... A thoroughgoing

synthesis of poetry and music is achieved

without any notable sacrifice in musical

expression."

 

While composing the opera Siegfried, the third part of the Ring cycle, Wagner interrupted work on it, and between 1857 and 1864 wrote the tragic love story Tristan und Isolde and his only mature comedy Die Meistersinger von Nürnberg, two works that are also part of the regular operatic canon.

 

Tristan is often granted a special place in musical history; many see it as the beginning of the move away from conventional harmony and tonality, and consider that it lays the groundwork for the direction of classical music in the 20th. century.

 

Wagner felt that his musico-dramatical theories were most perfectly realised in this work with its use of "the art of transition" between dramatic elements and the balance achieved between vocal and orchestral lines. Completed in 1859, the work was given its first performance in Munich, conducted by Bülow, in June 1865.

 

Die Meistersinger was originally conceived by Wagner in 1845 as a sort of comic pendant to Tannhäuser. Like Tristan, it was premiered in Munich under the baton of Bülow, on the 21st. June 1868, and became an immediate success.

 

Millington describes Meistersinger as:

 

"A rich, perceptive music drama

widely admired for its warm

humanity."

 

However its strong German nationalist overtones have led some to cite it as an example of Wagner's reactionary politics and antisemitism.

 

Completing the Ring

 

When Wagner returned to writing the music for the last act of Siegfried and for Götterdämmerung (Twilight of the Gods), as the final part of the Ring, his style had changed once more to something more recognisable as "operatic" than the aural world of Rheingold and Walküre, though it was still thoroughly stamped with his own originality as a composer and suffused with leitmotifs.

 

This was in part because the libretti of the four Ring operas had been written in reverse order, so that the book for Götterdämmerung was conceived more "traditionally" than that of Rheingold; still, the self-imposed strictures of the Gesamtkunstwerk had become relaxed.

 

The differences also result from Wagner's development as a composer during the period in which he wrote Tristan, Meistersinger and the Paris version of Tannhäuser. From act 3 of Siegfried onwards, the Ring becomes more chromatic melodically, more complex harmonically, and more developmental in its treatment of leitmotifs.

 

Wagner took 26 years from writing the first draft of a libretto in 1848 until he completed Götterdämmerung in 1874.

 

The Ring takes about 15 hours to perform, and is the only undertaking of such size to be regularly presented on the world's stages.

 

Parsifal

 

Wagner's final opera, Parsifal (1882), which was his only work written especially for his Bayreuth Festspielhaus and which is described in the score as a "Bühnenweihfestspiel" ("Festival Play for the Consecration of the Stage"), has a storyline suggested by elements of the legend of the Holy Grail.

 

It also carries elements of Buddhist renunciation suggested by Wagner's readings of Schopenhauer. Wagner described it to Cosima as his "last card".

 

Parsifal remains controversial because of its treatment of Christianity, its eroticism, and its expression, as perceived by some commentators, of German nationalism and antisemitism.

 

Despite the composer's own description of the opera to King Ludwig as "this most Christian of works", Ulrike Kienzle has commented that:

 

"Wagner's turn to Christian mythology,

upon which the imagery and spiritual

contents of Parsifal rest, is idiosyncratic,

and contradicts Christian dogma in

many ways."

 

Musically, the opera has been held to represent a continuing development of the composer's style, and Millington describes it as:

 

"A diaphanous score of unearthly

beauty and refinement".

 

Richard Wagner's Non-Operatic Music

 

Apart from his operas, Wagner composed relatively few pieces of music. These include a symphony in C major (written at the age of 19), the Faust Overture (the only completed part of an intended symphony on the subject), some concert overtures, and choral and piano pieces.

 

Richard's most commonly performed work that is not an extract from an opera is the Siegfried Idyll for chamber orchestra, which has several motifs in common with the Ring cycle.

 

The Wesendonck Lieder are also often performed, either in the original piano version, or with orchestral accompaniment.

 

More rarely performed are the American Centennial March (1876), and Das Liebesmahl der Apostel (The Love Feast of the Apostles), a piece for male choruses and orchestra composed in 1843 for the city of Dresden.

 

After completing Parsifal, Wagner expressed his intention to turn to the writing of symphonies, and several sketches dating from the late 1870's and early 1880's have been identified as work towards this end.

 

The overtures and certain orchestral passages from Wagner's middle and late-stage operas are commonly played as concert pieces. For most of these, Wagner wrote or re-wrote short passages to ensure musical coherence.

 

The "Bridal Chorus" from Lohengrin is frequently played as the bride's processional wedding march in English-speaking countries.

 

Richard Wagner's Prose Writings

 

Wagner was an extremely prolific writer, authoring many books, poems, and articles, as well as voluminous correspondence. His writings covered a wide range of topics, including autobiography, politics, philosophy, and detailed analyses of his own operas.

 

Wagner planned for a collected edition of his publications as early as 1865; he believed that such a work would help the world to understand his intellectual development and artistic aims.

 

The first such edition was published between 1871 and 1883, but was doctored to suppress or alter articles that were an embarrassment to him (e.g. those praising Meyerbeer), or by altering dates on some articles to reinforce Wagner's own account of his progress.

 

Wagner's autobiography Mein Leben was originally published for close friends only in a very small edition (15–18 copies per volume) in four volumes between 1870 and 1880.

 

The first public edition (with many passages suppressed by Cosima) appeared in 1911; the first attempt at a full edition (in German) appeared in 1963.

 

There have been modern complete or partial editions of Wagner's writings, including a centennial edition in German edited by Dieter Borchmeyer (which, however, omitted the essay "Das Judenthum in der Musik" and Mein Leben).

 

The English translations of Wagner's prose in eight volumes by William Ashton Ellis (1892–1899) are still in print, and commonly used, despite their deficiencies.

 

The first complete historical and critical edition of Wagner's prose works was launched in 2013 at the Institute for Music Research at the University of Würzburg; this will result in at least eight volumes of text and several volumes of commentary, totalling over 5,000 pages.

 

It was originally anticipated that the Würzburg project will be completed by 2030, although this time frame may need to be extended.

 

A complete edition of Wagner's correspondence, estimated to amount to between 10,000 and 12,000 items, is under way under the supervision of the University of Würzburg. As of January 2021, 25 volumes have appeared, covering the period up to 1873.

 

Richard Wagner's Influence on Music

 

Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure.

 

Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th. century.

 

Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord.

 

Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were César Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and many others.

 

Gustav Mahler was devoted to Wagner and his music; at the age of 15, he sought Wagner out on his 1875 visit to Vienna. Mahler became a renowned Wagner conductor, and Richard Taruskin has claimed that:

 

"Mahler's compositions extend

Wagner's maximalization of the

temporal and the sonorous in

music to the world of the

symphony."

 

The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal.

 

The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form.

 

Wagner also made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting, and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison.

 

He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn; in Wagner's view this also justified practices that would today be frowned upon, such as the rewriting of scores.

 

Wilhelm Furtwängler felt that Wagner and Bülow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwängler himself).

 

Among those claiming inspiration from Wagner's music are the German band Rammstein, Jim Steinman, who wrote songs for Meat Loaf, Bonnie Tyler, Air Supply, Celine Dion and others.

 

Wagner also influenced the electronic composer Klaus Schulze, whose 1975 album Timewind consists of two 30-minute tracks, Bayreuth Return and Wahnfried 1883.

 

Joey DeMaio of the band Manowar has described Wagner as:

 

"The father of heavy metal".

 

The Slovenian group Laibach created the 2009 suite VolksWagner, using material from Wagner's operas.

 

Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner.

 

Richard Wagner's Influence on Literature, Philosophy and the Visual Arts

 

Wagner's influence on literature and philosophy is significant. Millington has commented:

 

"Wagner's protean abundance meant that

he could inspire the use of literary motif in

many a novel employing interior monologue;

the Symbolists saw him as a mystic hierophant;

the Decadents found many a frisson in his work."

 

Friedrich Nietzsche was a member of Wagner's inner circle during the early 1870's, and his first published work, The Birth of Tragedy, proposed Wagner's music as the Dionysian "rebirth" of European culture in opposition to Apollonian rationalist "decadence".

 

Nietzsche however broke with Wagner following the first Bayreuth Festival, believing that Wagner's final phase represented a pandering to Christian pieties, and a surrender to the new German Reich.

 

Nietzsche expressed his displeasure with the later Wagner in "The Case of Wagner" and "Nietzsche Contra Wagner".

 

The poets Charles Baudelaire, Stéphane Mallarmé and Paul Verlaine worshipped Wagner.

 

Édouard Dujardin, whose influential novel Les Lauriers Sont Coupés is in the form of an interior monologue inspired by Wagnerian music, founded a journal dedicated to Wagner, La Revue Wagnérienne.

 

In a list of major cultural figures influenced by Wagner, Bryan Magee includes D. H. Lawrence, Aubrey Beardsley, Romain Rolland, Gérard de Nerval, Pierre-Auguste Renoir, Rainer Maria Rilke and several others.

 

In the 20th century, W. H. Auden once called Wagner:

 

"Perhaps the greatest

genius that ever lived."

 

Thomas Mann and Marcel Proust were heavily influenced by him, and discussed Wagner in their novels. He is also discussed in some of the works of James Joyce, as well as W. E. B. Du Bois, who featured Lohengrin in The Souls of Black Folk.

 

Wagnerian themes inhabit T. S. Eliot's The Waste Land, which contains lines from Tristan und Isolde and Götterdämmerung, and Verlaine's poem on Parsifal.

 

Many of Wagner's concepts, including his speculation about dreams, predated their investigation by Sigmund Freud. Wagner had publicly analysed the Oedipus myth before Freud was born in terms of its psychological significance, insisting that incestuous desires are natural and normal, and perceptively exhibiting the relationship between sexuality and anxiety. Georg Groddeck considered the Ring as the first manual of psychoanalysis.

 

Richard Wagner's Influence on the Cinema

 

Wagner's concept of the use of leitmotifs and the integrated musical expression which they can enable has influenced many 20th. and 21st. century film scores.

 

The critic Theodor Adorno has noted that:

 

"The Wagnerian leitmotif leads directly to

cinema music where the sole function of

the leitmotif is to announce heroes or

situations so as to allow the audience to

orient itself more easily".

 

Film scores citing Wagnerian themes include Francis Ford Coppola's Apocalypse Now, which features a version of the Ride of the Valkyries, Trevor Jones's soundtrack to John Boorman's film Excalibur, and the 2011 films A Dangerous Method (dir. David Cronenberg) and Melancholia (dir. Lars von Trier).

 

Hans-Jürgen Syberberg's 1977 film Hitler has a visual style and set design that are strongly inspired by Der Ring des Nibelungen, musical excerpts from which are frequently used in the film's soundtrack.

 

Richard Wagner's Opponents and Supporters

 

Not all reaction to Wagner was positive. For a time, German musical life divided into two factions, supporters of Wagner and supporters of Johannes Brahms; the latter, with the support of the powerful critic Eduard Hanslick (of whom Beckmesser in Meistersinger is in part a caricature) championed traditional forms, and led the conservative front against Wagnerian innovations.

 

They were supported by the conservative leanings of some German music schools, including the conservatories at Leipzig under Ignaz Moscheles and at Cologne under the direction of Ferdinand Hiller.

 

Another Wagner detractor was the French composer Charles-Valentin Alkan, who wrote to Hiller after attending Wagner's Paris concert on the 25th. January 1860. At this concert Wagner conducted the overtures to Der Fliegende Holländer and Tannhäuser, the preludes to Lohengrin and Tristan und Isolde, and six other extracts from Tannhäuser and Lohengrin.

 

Alkan noted:

 

"I had imagined that I was going

to meet music of an innovative

kind, but was astonished to find

a pale imitation of Berlioz.

I do not like all the music of Berlioz

while appreciating his marvellous

understanding of certain instrumental

effects ... but here he was imitated

and caricatured ... Wagner is not a

musician, he is a disease."

 

Even those who, like Debussy, opposed Wagner ("this old poisoner") could not deny his influence. Indeed, Debussy was one of many composers, including Tchaikovsky, who felt the need to break with Wagner precisely because his influence was so unmistakable and overwhelming.

 

"Golliwogg's Cakewalk" from Debussy's Children's Corner piano suite contains a deliberately tongue-in-cheek quotation from the opening bars of Tristan.

 

Others who proved resistant to Wagner's operas included Gioachino Rossini, who said:

 

"Wagner has wonderful moments,

and dreadful quarters of an hour."

 

In the 20th. century Wagner's music was parodied by Paul Hindemith and Hanns Eisler, among others.

 

Wagner's followers (known as Wagnerians or Wagnerites) have formed many societies dedicated to Wagner's life and work.

 

Film and Stage Portrayals of Richard Wagner

 

Wagner has been the subject of many biographical films. The earliest was a silent film made by Carl Froelich in 1913. It featured in the title role the composer Giuseppe Becce, who also wrote the score for the film (as Wagner's music, still in copyright, was not available).

 

Other film portrayals of Wagner include:

 

-- Richard Burton in Wagner (1983).

-- Paul Nicholas in Lisztomania (1975)

-- Trevor Howard in Ludwig (1972)

-- Lyndon Brook in Song Without End (1960)

-- Alan Badel in Magic Fire (1955)

 

Jonathan Harvey's opera Wagner Dream (2007) intertwines the events surrounding Wagner's death with the story of Wagner's uncompleted opera outline Die Sieger (The Victors).

 

The Bayreuth Festival

 

Since Wagner's death, the Bayreuth Festival, which has become an annual event, has been successively directed by his widow, his son Siegfried, the latter's widow Winifred Wagner, their two sons Wieland and Wolfgang Wagner, and, presently, two of the composer's great-granddaughters, Eva Wagner-Pasquier and Katharina Wagner.

 

Since 1973, the festival has been overseen by the Richard-Wagner-Stiftung (Richard Wagner Foundation), the members of which include some of Wagner's descendants.

 

Controversies Associated With Richard Wagner

 

Wagner's operas, writings, politics, beliefs and unorthodox lifestyle made him a controversial figure during his lifetime.

 

Following his death, debate about his ideas and their interpretation, particularly in Germany during the 20th. century, has continued.

 

Racism and Antisemitism

 

A caricature of Wagner by Karl Clic was published in 1873 in the Viennese satirical magazine, Humoristische Blätter. It shows a cartoon figure holding a baton, standing next to a music stand in front of some musicians.

 

The figure has a large nose and prominent forehead. His sideburns turn into a wispy beard under his chin. The exaggerated features refer to rumours of Wagner's Jewish ancestry.

 

Wagner's hostile writings on Jews, including Jewishness in Music, correspond to some existing trends of thought in Germany during the 19th century.

 

Despite his very public views on this topic, throughout his life Wagner had Jewish friends, colleagues and supporters. There have been frequent suggestions that antisemitic stereotypes are represented in Wagner's operas. The characters of Alberich and Mime in the Ring, Sixtus Beckmesser in Die Meistersinger, and Klingsor in Parsifal are sometimes claimed as Jewish representations, though they are not identified as such in the librettos of these operas.

 

The topic is further complicated by claims, which may have been credited by Wagner, that he himself was of Jewish ancestry, via his supposed father Geyer. However, there is no evidence that Geyer had Jewish ancestors.

 

Some biographers have noted that Wagner in his final years developed interest in the racialist philosophy of Arthur de Gobineau, notably Gobineau's belief that Western society was doomed because of miscegenation between "superior" and "inferior" races.

 

According to Robert Gutman, this theme is reflected in the opera Parsifal.

 

Other biographers however (including Lucy Beckett) believe that this is not true, as the original drafts of the story date back to 1857 and Wagner had completed the libretto for Parsifal by 1877, but he displayed no significant interest in Gobineau until 1880.

 

Other Interpretations

 

Wagner's ideas are amenable to socialist interpretations; many of his ideas on art were being formulated at the time of his revolutionary inclinations in the 1840's. Thus, for example, George Bernard Shaw wrote in The Perfect Wagnerite (1883):

 

"Wagner's picture of Niblunghome under the

reign of Alberic is a poetic vision of unregulated

industrial capitalism as it was made known in

Germany in the middle of the 19th. century by

Engels's book 'The Condition of the Working

Class in England."

 

Left-wing interpretations of Wagner also inform the writings of Theodor Adorno among other Wagner critics.

 

Walter Benjamin gave Wagner as an example of "bourgeois false consciousness", alienating art from its social context.

 

György Lukács contended that the ideas of the early Wagner represented the ideology of the "true socialists" (wahre Sozialisten), a movement referenced in Karl Marx's "Communist Manifesto" as belonging to the left-wing of German bourgeois radicalism.

 

Anatoly Lunacharsky said about the later Wagner:

 

"The circle is complete. The revolutionary

has become a reactionary. The rebellious

petty bourgeois now kisses the slipper of

the Pope, the keeper of order."

 

The writer Robert Donington has produced a detailed, if controversial, Jungian interpretation of the Ring cycle, described as "an approach to Wagner by way of his symbols", which, for example, sees the character of the goddess Fricka as part of her husband Wotan's "inner femininity".

 

Millington notes that Jean-Jacques Nattiez has also applied psychoanalytical techniques in an evaluation of Wagner's life and works.

 

Nazi Appropriation of Richard Wagner's Work

 

Adolf Hitler was an admirer of Wagner's music, and saw in his operas an embodiment of his own vision of the German nation; in a 1922 speech he claimed that:

 

"Wagner's works glorify the heroic

Teutonic nature ... Greatness lies in

the heroic."

 

Hitler visited Bayreuth frequently from 1923 onwards, and attended productions at the theatre.

 

There continues to be debate about the extent to which Wagner's views might have influenced Nazi thinking. Houston Stewart Chamberlain (1855–1927), who married Wagner's daughter Eva in 1908 but never met Wagner, was the author of the racist book The Foundations of the Nineteenth Century, approved by the Nazi movement.

 

Chamberlain met Hitler several times between 1923 and 1927 in Bayreuth, but cannot credibly be regarded as a conduit of Wagner's own views.

 

The Nazis used those parts of Wagner's thought that were useful for propaganda, and ignored or suppressed the rest.

 

While Bayreuth presented a useful front for Nazi culture, and Wagner's music was used at many Nazi events, the Nazi hierarchy as a whole did not share Hitler's enthusiasm for Wagner's operas, and resented attending these lengthy epics at Hitler's insistence.

 

Guido Fackler has researched evidence that indicates that it is possible that Wagner's music was used at the Dachau concentration camp in 1933–1934 to "re-educate" political prisoners by exposure to "national music".

 

There has been no evidence to support claims, sometimes made, that his music was played at Nazi death camps during the Second World War, and Pamela Potter has noted that Wagner's music was explicitly off-limits in the camps.

 

Because of the associations of Wagner with antisemitism and Nazism, the performance of his music in the State of Israel has been a source of controversy.

Lancelot on Vacation

 

HKD

 

Die Kraft der Liebe

 

Familiär sei er an den Klan der Ausbeuter gebunden gewesen, sagte der grauhaarige Herr im Freizeitanzug und mit Sonnenbrille, die er allerdings abnahm als er das Gespräch mit der ihm im Zug gegenübersitzenden jungen Frau führte.

Der Herr sprach dezent, für mich manchmal zu leise, doch die Studentin Betina bekam alles gut mit. Allerdings band sie ihr langes brünettes Haar zu einem straffen Pferdeschwanz, wodurch sie auf mich einen etwas strengeren Eindruck machte.

Ihre Konversation hatte sich aufgrund einer Durchsage ergeben, die grammatikalisch nicht einwandfrei war. Daher hatte Betina den Herrn gefragt, ob er das auch gehört hätte, worauf der Herr sagte: „Es heißt richtig: …die voraussichtliche Verspätung wird 10 Minuten betragen.“

Betina nickte: „Genau.“ Sie bestand auf Präzision und schilderte auch, warum.

„Ich will meinen Schülern einmal ein Vorbild sein. Man muss Kinder auf den rechten Weg bringen.“

Der Herr fragte interessiert nach und erhielt schließlich die Antwort: „Ich habe nie bereut, dass mein Vater auch Lehrer ist. Er hat mich frühzeitig mit Legenden und Mythen vertraut gemacht. Daher verstehe ich Ihre Anspielung auf Lancelot. Ja, ich bin in gewissem Sinn tugendhaft. Aber ich würde mich nicht als fanatisch bezeichnen.“

„Diesen Aspekt habe ich noch nicht bedacht“, sagte der Herr. „Doch Sie haben Recht. Der edle Ritter an König Arthurs Hof kämpfte fanatisch für das Gute und Gerechte. Er hatte das Wohl der leidenden Menschen im Blick und hat dennoch Leiden erzeugt. Er hinterging seinen König. Die Anziehungskraft der Königin war zu groß.“

„Ich würde meinen Freund nicht betrügen“, sagte Betina. „Dafür achten wir uns gegenseitig viel zu sehr. Wir haben uns über ein soziales Netzwerk kennengelernt und arbeiten gemeinsam dafür.“

Der Zugbegleiter kündigte an, man werde auf gerader Strecke die Verspätung auf fünf Minuten reduzieren und löste damit bei Betina wieder verbale Entrüstung und Erheiterung aus.

Der Herr spielte mit seiner Sonnenbrille während er entgegnete: „Sie mischen sich ein in den gesellschaftlichen Prozess. Das tat ich früher auch, mit egoistischer Macht. Es gibt auch jene, die Macht altruistisch einsetzen. Ihr soziales Netzwerk beruht auf gemeinnütziger Basis. Dort kämpfen viele für mehr bürgerliche Freiheiten und ethische Werte. Tugendhafte Ritter. Die weiße Macht. Ich erkenne die weiße Macht, denn ich habe der dunklen Macht gedient.“

„Das hört sich geheimnisvoll und mystisch an“, sagte Betina und fragte, ob sie auch persönliche Fragen stellen dürfe, und der Herr stimmte zu. Und so erfuhr ich, dass er als Lobbyist tätig gewesen war.

„Ich sorgte auf die eine oder andere Weise dafür, dass bestimmte Institutionen sich eine ganz bestimmte Meinung bildeten. Wurde ein Ziel erreicht, bekam ich eine Erfolgsprämie. Von meiner Arbeit konnte ich gut leben.“

Er sei aus dem Geschäft allerdings ausgestiegen, als er sich vor einigen Jahren in eine asiatische Frau verliebte, mit der er bis zum heutigen Tag sehr glücklich verheiratet sei.

„Sie wollte die Heirat nicht“, sagte der Herr. „Aber ich wollte es, um sie abzusichern. Sie ist so unendlich bescheiden, freundlich und liebevoll. Ich kannte all das nicht und war völlig überrascht, als ich sie während eines Auftrages kennenlernte. Sie war Konsulin des kleinen Landes im Himalaya. Ich hatte immer das Gefühl, ich müsse sie beschützen, doch das kann sie gut für sich allein. Ich dagegen hätte Schutz gebraucht, denn ich habe über sie meinen Verstand verloren. Aber darum bin ich heute glücklich, während ich früher eher oft betrunken war.“

Der Herr machte eine kurze Pause und sagte abschließend: „Meine Frau hat die Kraft des Guten. Sie dient einem höheren Ziel. Dem habe ich mich angeschlossen.“

Liebe kann zum Guten bekehren, dachte ich bei mir. Die Welt liebt das Spiel mit den Gegensätzen…

 

HKD

 

Digital art based on own photography and textures

 

HKD

 

According to a german legend, a battle between several minstrels and poets took place at the Wartburg in Thuringia(Germany). In the course of events a demon was summoned by the wizards Klingsor. This demon was then banished by Wolfram von Eschenbach's Song.

Italian postcard. Picture by Nanni. Luigi Rossi Morelli as the title character in the opera Boris Godunov by Modest Mussorgsky. Edizioni Artistiche Alberani. Caption: Pastiglie Madonna della Salute contro le tosse (Madonna della Salute tablets against coughs).

 

Luigi Rossi-Morelli (Sarsina 1887 - Imola 1940) was an Italian baritone.

 

Rossi-Morelli studied in Rome with Antonio Cotogni. In 1913 he made his debut at the Teatro Grande in Brescia as Wotan in '' Die Walkure''. In 1914 he had his first big success as Klingsor in the premiere of the opera ''Parsifal'' at the Teatro Massimo in Palermo. In 1915 Rossi-Morelli appeared at the Teatro Regio, Turin in the Italian premiere of Giordano’s ‘’Madame Sans-Gene’’, in 1918 at the Teatro Liceo in Barcelona as guest. In 1921 he sang at the Teatro Costanzi in Rome in ''Tristan and Isotte'', ''Carmen'’, ''La Fanciulla del West'' and ''Aida''. In 1923 he performed at the Teatro Massimo, Palermo, in 1924 at the Teatro Dal Verme. In 1926 Rossi-Morelli appeared at the Teatro Costanzi as Wotan in ‘’Die Walkure’’. In 1928 he sang the same part at La Scala with Frida Leider, in 1928 as Pizarro in ''Fidelio.'' Since then he counted as the most significant Wagner's baritone in Italy. He appeared at La Scala over and over again. He sang at La Scala in the premiere of Wolf-Ferrari's ''Sly'' as well as at the premieres of Renzo Bianchi’s ''Proserpina'' (23.3.1938) and ''La Sagredo'' of Franco Vittadini (27.4.1930). In 1935 and 1937 he was staying in the Italian opera in Holland. In 1937 he sang in Rome again as Amfortas in ‘’Parsifal’’. In 1940 he sang last time in his life the part of Pizarro in ''Fidelio'' at the Teatro Massimo, Palermo. He had big success also in South America, where he appeared at the Teatro Colon, Buenos Aires, Rio de Janeiro and also São Paulo. In 1940 he stopped singing, a few months before he died of an incurable disease. As far as known, Rossi-Morelili didn't act in film.

 

Sources: Italian Wikipedia, forgottenoperasingers.blogspot.com/2011/08/luigi-rossi-mo...

Museum Küppersmühle

En busca de Klingsor y el suplemento literario de EL PAÍS

Parsifal

Musikalische Leitung Philippe Jordan

Regie Stefan Herheim

Bühnenbild Heike Scheele

Kostüme Gesine Völlm

Licht Ulrich Niepel

Video Momme Hinrichs

Video Torge Møller

Dramaturgie Alexander Meier-Dörzenbach

Chorleitung Eberhard Friedrich

 

Amfortas Detlef Roth

Titurel Diógenes Randes

Gurnemanz Kwangchul Youn

Parsifal Burkhard Fritz

Klingsor Thomas Jesatko

Kundry Susan Maclean

1. Gralsritter Arnold Bezuyen

2. Gralsritter Christian Tschelebiew

1. Knappe Julia Borchert

2. Knappe Ulrike Helzel

3. Knappe Clemens Bieber

4. Knappe Willem Van der Heyden

Klingsors Zaubermädchen Julia Borchert

Klingsors Zaubermädchen Martina Rüping

Klingsors Zaubermädchen Carola Guber

Klingsors Zaubermädchen Christiane Kohl

Klingsors Zaubermädchen Jutta Maria Böhnert

Klingsors Zaubermädchen Ulrike Helzel

Altsolo Simone Schröder

 

La chanson de la citrouille

 

Il y avait une fois une citrouille

Dans un jardin tout planté de carottes,

De cornichons et de radis,

Avec de vieux tons tout gris de rouille

Sur ses côtes.

Pour la mieux soigner, la fée Carabosse

Avait même pris

L'air d'une bonne femme des Quatre-Jeudis

Et mis sur sa bosse

Un caraco gris.

Mais le soir, la citrouille s'ouvrait

Comme un carrosse enchanté,

Et tenant les rênes

De ses quatre chats bottés,

Avec sa bosse, sa quenouille

Et sa marotte,

La Carabosse s'en allait par la forêt

Où les fées sont reines :

Il y avait une fois une citrouille

Dans un jardin tout planté de carottes.

 

(Tristan Klingsor)

c'est la journée de la gentillesse, une comptine pour les enfants. De la gentillesse pour vous remercier de vos visites et de vos commentaires un moment de partages agréables dans la journée

Bonne journée je vous retrouve plus tard. Bises

Parsifal

 

Pessimism

 

Shadows

Klingsors wings

Darken my thoughts

   

HKD

  

The enchanted garden of Klingsor, second act, second scene

the sublime decor where Wagner drew inspiration for the "Klingsor gardens" of his Parsifal

Liebig's Beef Extract "Male Operatic Characters" German issue, 1893.

Klingsor & Lohengrin