Adorno’s «Wagner.» Metacritique of the critique of wagnerianism

Abstract

This paper addresses a textual analysis of Adorno’s work on Wagner, more specifically, his Essay on Wagner. Our aim is to establish the reasons underlying Adorno’s severe criticism of Wagner, and his prejudices against Wagner’s work. Our analysis of Wagner’s work is based on a criterion ruling the artist’s actions which could be termed «principle of freedom». From the perspective of such principle, the achievements, or the lack of achievements, of Wagner’s music derive from the work itself when studied from its multiple viewpoints. In turn, Adorno developed a concept of autonomy of the art rooted in the notion of the state of historical necessity. In agreement with that notion, he judged Wagner’s music. It was the case, however, that Wagner acted in agreement with Schopenhauer’s principles, which are based on the recreation of meaning starting from mythology or religion so as to reach redemption and piety. Another aspect that is severely criticised is that of phantasmagoria. This concept refers to the lack of authenticity in Wagner’s work.