ABSTRACT
This chapter investigates a “chivalric” musical style that can be found in all of the operas in the study, but more specifically in Heinrich Marschner’s Der Templer und die Jüdin (1829) and in Richard Wagner’s Lohengrin (1850). Various musical devices that make up a “chivalric” sound are explored in all six operas featured in this book, along with the nationalistic and cultural significance of musical depictions of masculinity, valor, and heroism. The author also discusses Marschner’s and Wagner’s attention to historical details, while an analysis of the nineteenth-century reception of Der Templer and Lohengrin seeks to answer why these works were more successful than the other medievalist German operas featured in this study.
