In 2009, BW added internationally-renowned Wagnerian soprano Jane Eaglen to the staff, joining the celebrated 20th century music performer Nanette Canfield, and heldentenor Dr. Timothy Mussard.
He was especially acclaimed in such taxing Wagnerian parts as Hans Sachs in Die Meistersinger von Nürnberg, but he also appeared in the Met premiere of the French operas Louise (in 1921) and Pelléas et Mélisande (in 1925), and in the North American premiere of Erich Wolfgang Korngold's one-act opera Violanta (on 5 November 1927).
Deans Marsh is the birthplace of the renowned Wagnerian soprano Marjorie Lawrence (1907–1979).
When composing for the orchestra, Brower tried to respect the Wagnerian style from the expansion to the second game in the series, Lord of Destruction.
Although he primarily sang roles from the Wagnerian repertoire, Schmedes was also an admired interpreter of Florestan in Beethoven's Fidelio and the title role of Pfitzner's Palestrina.
She was a celebrated Wagnerian singer, possessing a wide vocal range and dramatic creativity and fine sense of style.
She subsequently studied musicology with François Lesure at the École Pratique des Hautes Études en Sorbonne and received a doctorate with her thesis on the orchestral style of Ernest Chausson and Wagnerian influence on late 19th-century French orchestral writing.
She enjoyed several major successes with the role of Brangäne in Richard Wagner's Tristan und Isolde in her early career, and the part helped establish herself as one of Italy's leading Wagnerian singers.
She was a Wagnerian soprano from the generation before Frida Leider and Kirsten Flagstad.
His first Wagnerian tenor roles (Lohengrin and Siegfried) followed in 1937, along with Lemminkäinen in the premiere of Lars-Erik Larsson's The Princess of Cyprus the same year.
In 1977, she earned a music degree at the Musikhochschule Rheinland (then called Robert-Schumann-Institut) in Düsseldorf, Germany, where she studied with Wagnerian soprano Astrid Varnay.
In Bologna, he labored in scenography for the Teatro Comunale, and sent his pupils to study the art as it was practiced in Vienna and Monaco, specially Wagnerian works.
He was persuaded to redraft the article by his friend, the enthusiastic Wagnerian Peter Gast who helped him prepare a less contentious version.