Michael Tanner says his book is aimed, not at Wagner buffs, but at people who have only a limited acquaintance with his music, haven't decided whether they like it or not, and can't separate the music from all the fuss about the man anyhow. Courageously, then, he begins with a spirited defence of the composer everyone even his greatest fans loves to hate, running through the usual accusations of lechery, self-obsession, anti-Semitism and downright nastiness. Having cut some of the myths (notably the lechery which, as enumerated here, does seem a little lackadaisical) down to size, Tanner takes a hard look at the supposed examples of "demonstrable anti-Semitism" in the operas. His arguments are reasonable and backed up by Schopenhauer and Nietschze, but they won't convince everybody, as he admits himself: "No one ever changes sides on these issues. I just hope that I have got in first for people who have not yet taken sides It's always a relief to get to the music, though - and especially here, for Tanner loves it, and writes about it with intelligence, wit, and flashes of inspiration. Can anyone read his comments on the Prelude to Lohengrin and not rush out to get hold of a recording at once? "Beginning with exquisite string and wind chords, breathing itself into existence, by the time it has come to its serene conclusion..." Excuse me while I turn up the volume.
