View example sentences, synonyms and word forms for Wagnerian.
Wagnerian meaning
Of, or characteristic of Richard Wagner, or his music; (by extension) of epic dimensions.
Example sentences (16)
Later commentators have opined that the opera, Puccini’s first big success, has Romantic underpinnings with Verismo tendencies and Wagnerian harmonic influences.
Perhaps unsurprisingly, the landscapes he has been working on in recent years are dramatic: "I like Wagnerian, metallic skies and naked trees.
A Wagnerian drama exploring the clash between innovation and tradition in music.
Debussy's only complete opera Pelléas et Mélisande premiered in 1902, after ten years of work, and contrasted sharply with Wagnerian opera.
Head describes the work as unique in its time for its compact intimacy, and considers it Holst's most successful attempt to end the domination of Wagnerian chromaticism in his music.
His treatment of subjects has been characterized as Wagnerian in its scope, and Fitzcarraldo and his later film Invincible (2001) are directly inspired by opera, or operatic themes.
In Wagnerian operas, the forefronting of the orchestra went beyond the overture.
It showed Copland that the technique could be separated from the "old Wagnerian" aesthetic with which he had associated it previously.
Nevertheless, Verdi's new style was markedly different from that of his popular works of the 1850s and 1860s, and it seemed to some to have Wagnerian echoes.
Puccini used Wagnerian leitmotifs (short musical statements) to identify characters, objects and ideas.
Stanford admired some of Wagner's works, and had in his earlier years been influenced by him, Rodmell, p. 49 but Holst's sub-Wagnerian compositions met with his disapprobation: "It won't do, me boy; it won't do".
The well-known fairy tale received a full Wagnerian operatic adaptation at Humperdinck's hands.
Thompson, p. 82 During his visits to Bayreuth in 1888–9, Debussy was exposed to Wagnerian opera, which would have a lasting impact on his work.
Tosca is the most Wagnerian of Puccini's operas, with its frequent use of leitmotif.
Two tones are normally used by major orchestras, known as Germanic or Wagnerian (heavier) and Viennese (lighter); a third, rarer tone is known as French (lighter still).
Williams, p. 217 This use of Wagnerian leitmotif technique is repeated and developed further in Ivanhoe.