Rating: 
Summary: A book for all Wagnerians!
Review: It was with some reluctance and trepidation that I approached William Berger's book, "Wagner without Fear." From the title alone, I erroneously thought that this was another of the poorly written books flooding the market that reduce Wagner to generalities, and which ill-serve both newcomers to Wagner's music and seasoned Wagner enthusiasts, like me, who collect multiple recordings of his music and attend every possible performance of the operas. The book, however, is excellent; in fact, I found it one of the most useful and well-written books on Wagner that one could buy. Mr. Berger writes superlative pages on what opera is, and on the background of Wagner's life, with perceptive pages on the composer's time in Munich and Bayreuth. He writes a brilliant and witty summary - the best I have read - on each of the mature operas from "Der fliegende Holländer" to "Parsifal" Mr. Berger provides helpful pronunciation tips, backgrounds and analyses of characters, discussion of motifs, and comments, in italics, after each section of the summary. The book concludes with "Wagner Issues," a particularly useful discussion of Wagner's anti-Semitism, his bizarre beliefs, the Nazi abuse of his music, and various other material that is accurate and fascinating. Having been a pilgrim to Bayreuth, I was interested in what he had to say about the Wagnerian shrine and how to survive in the town during the annual Festspiele. Wagnerians constantly battle about the "best" CD performances of the operas, but it is difficult to find fault with Mr. Berger's recommendations. Finally, he includes a commendable discussion on The Ring Cycle, including engaging information on the problems of staging it. There is a helpful annotated bibliography and a lucid glossary. I have not given the book the rating of Five Stars because there is a bit of rather gratuitous humor sprinkled throughout the book that probably amused Mr. Berger but which becomes a bit annoying. For example, he constantly suggests the times in which to go to the restroom during performances of Wagner's operas. There are also bits of sophomoric humor that will please some readers and irritate others. I highly recommend this book to the beginner as the best book on the market to approach Wagner; and to the experienced Wagnerian for its clear and perceptive insights into the music of a complex composer. Indeed, I am indebted to Mr. Berger for teaching me some things I did not know, and for elucidating some ideas so I could better understand them.
Rating:
Summary: A book for all Wagnerians!
Review: It was with some reluctance and trepidation that I approached William Berger's book, "Wagner without Fear." From the title alone, I erroneously thought that this was another of the poorly written books flooding the market that reduce Wagner to generalities, and which ill-serve both newcomers to Wagner's music and seasoned Wagner enthusiasts, like me, who collect multiple recordings of his music and attend every possible performance of the operas. The book, however, is excellent; in fact, I found it one of the most useful and well-written books on Wagner that one could buy. Mr. Berger writes superlative pages on what opera is, and on the background of Wagner's life, with perceptive pages on the composer's time in Munich and Bayreuth. He writes a brilliant and witty summary - the best I have read - on each of the mature operas from "Der fliegende Holländer" to "Parsifal" Mr. Berger provides helpful pronunciation tips, backgrounds and analyses of characters, discussion of motifs, and comments, in italics, after each section of the summary. The book concludes with "Wagner Issues," a particularly useful discussion of Wagner's anti-Semitism, his bizarre beliefs, the Nazi abuse of his music, and various other material that is accurate and fascinating. Having been a pilgrim to Bayreuth, I was interested in what he had to say about the Wagnerian shrine and how to survive in the town during the annual Festspiele. Wagnerians constantly battle about the "best" CD performances of the operas, but it is difficult to find fault with Mr. Berger's recommendations. Finally, he includes a commendable discussion on The Ring Cycle, including engaging information on the problems of staging it. There is a helpful annotated bibliography and a lucid glossary. I have not given the book the rating of Five Stars because there is a bit of rather gratuitous humor sprinkled throughout the book that probably amused Mr. Berger but which becomes a bit annoying. For example, he constantly suggests the times in which to go to the restroom during performances of Wagner's operas. There are also bits of sophomoric humor that will please some readers and irritate others. I highly recommend this book to the beginner as the best book on the market to approach Wagner; and to the experienced Wagnerian for its clear and perceptive insights into the music of a complex composer. Indeed, I am indebted to Mr. Berger for teaching me some things I did not know, and for elucidating some ideas so I could better understand them.
Rating:
Summary: A book for all Wagnerians!
Review: It was with some reluctance and trepidation that I approached William Berger's book, "Wagner without Fear." From the title alone, I erroneously thought that this was another of the poorly written books flooding the market that reduce Wagner to generalities, and which ill-serve both newcomers to Wagner's music and seasoned Wagner enthusiasts, like me, who collect multiple recordings of his music and attend every possible performance of the operas. The book, however, is excellent; in fact, I found it one of the most useful and well-written books on Wagner that one could buy. Mr. Berger writes superlative pages on what opera is, and on the background of Wagner's life, with perceptive pages on the composer's time in Munich and Bayreuth. He writes a brilliant and witty summary - the best I have read - on each of the mature operas from "Der fliegende Holländer" to "Parsifal" Mr. Berger provides helpful pronunciation tips, backgrounds and analyses of characters, discussion of motifs, and comments, in italics, after each section of the summary. The book concludes with "Wagner Issues," a particularly useful discussion of Wagner's anti-Semitism, his bizarre beliefs, the Nazi abuse of his music, and various other material that is accurate and fascinating. Having been a pilgrim to Bayreuth, I was interested in what he had to say about the Wagnerian shrine and how to survive in the town during the annual Festspiele. Wagnerians constantly battle about the "best" CD performances of the operas, but it is difficult to find fault with Mr. Berger's recommendations. Finally, he includes a commendable discussion on The Ring Cycle, including engaging information on the problems of staging it. There is a helpful annotated bibliography and a lucid glossary. I have not given the book the rating of Five Stars because there is a bit of rather gratuitous humor sprinkled throughout the book that probably amused Mr. Berger but which becomes a bit annoying. For example, he constantly suggests the times in which to go to the restroom during performances of Wagner's operas. There are also bits of sophomoric humor that will please some readers and irritate others. I highly recommend this book to the beginner as the best book on the market to approach Wagner; and to the experienced Wagnerian for its clear and perceptive insights into the music of a complex composer. Indeed, I am indebted to Mr. Berger for teaching me some things I did not know, and for elucidating some ideas so I could better understand them.
Rating: 
Summary: In my humble opinion...there is no better place to start....
Review: The ominous task of learning about Wagner (and, perhaps, even enjoying the man) is a chore not for the faint of heart. With acts that are two hours long, operas that are deeper, more musically-involved, and, even, dangerous to the health and voices of the singers than any other composer, the man is a force to be reckoned with and the bane of most novice opera devotees.This book, however, adds a pleasant slant to the genius of Wagner. Oftentimes funny and always willing to poke fun at its subject, it leads its readers through a survey of Wagner's "mature" operas and gives a biographical overview of his life... just enough one NEEDS to know to understand where Wagner is coming from. For those who do not have the stomach to handle works such as the monolithic four volume work by Newman or Donnington's sadly-gone-wrong Jungian interpretation, this book is by far the best thing going. For those who are willing to take a larger bite out of Wagner, there is a generous listing of additional resources at the end of the book (even Berger's CD commentary is exceptionally fresh... recommending the best recordings out there today.) Good luck.
Rating:
Summary: In my humble opinion...there is no better place to start....
Review: The ominous task of learning about Wagner (and, perhaps, even enjoying the man) is a chore not for the faint of heart. With acts that are two hours long, operas that are deeper, more musically-involved, and, even, dangerous to the health and voices of the singers than any other composer, the man is a force to be reckoned with and the bane of most novice opera devotees. This book, however, adds a pleasant slant to the genius of Wagner. Oftentimes funny and always willing to poke fun at its subject, it leads its readers through a survey of Wagner's "mature" operas and gives a biographical overview of his life... just enough one NEEDS to know to understand where Wagner is coming from. For those who do not have the stomach to handle works such as the monolithic four volume work by Newman or Donnington's sadly-gone-wrong Jungian interpretation, this book is by far the best thing going. For those who are willing to take a larger bite out of Wagner, there is a generous listing of additional resources at the end of the book (even Berger's CD commentary is exceptionally fresh... recommending the best recordings out there today.) Good luck.
Rating:
Summary: Lives up to its name
Review: This book delivers on its promise - it takes the fear out of listening to Wagner. Having used it to prepare for the Washington Opera's Parsifal, I found that the nearly five hour opera (which I had worried would be confusing and hence boring) flew by enjoyably. Esp. interesting is his discussion of the different ways these operas have been staged. Esp. USEFUL is his advice on when to eat, etc. and the other mechanics of actually attending these operas, which are among the longest. The book does not cover ALL of Wagner's operas, but the ones omitted (e.g. Rienzi) are minor and I prefer the book's approach to giving more space to the biggies. I'm sure that some die hard Wagnerians will find this too elementary, but for most of us, it's a great place to start.
Rating:
Summary: Lives up to its name
Review: This book delivers on its promise - it takes the fear out of listening to Wagner. Having used it to prepare for the Washington Opera's Parsifal, I found that the nearly five hour opera (which I had worried would be confusing and hence boring) flew by enjoyably. Esp. interesting is his discussion of the different ways these operas have been staged. Esp. USEFUL is his advice on when to eat, etc. and the other mechanics of actually attending these operas, which are among the longest. The book does not cover ALL of Wagner's operas, but the ones omitted (e.g. Rienzi) are minor and I prefer the book's approach to giving more space to the biggies. I'm sure that some die hard Wagnerians will find this too elementary, but for most of us, it's a great place to start.
Rating: 
Summary: bad suggestion for wagner fans
Review: this book is a poor reccomendation for those who appreciate wagner's music.
Rating:
Summary: Very Good Book Even if You Know Wagner Well
Review: This book should serve as an excellent and very readable guide for most readers who want information about Wagner's life, his operas, the staging of the operas, various recordings of the operas, etc. If it is not a deep book that goes into lots of detail about these topics (nor can it be, given its length) but certainly it provides satisfactory coverage. It is particularly useful in its plot summaries, along with a general discussion of the music of the operas. Although it is written in a very chatty and informal manner, it really covers a lot of ground and gives a reader good leads on how to follow up with additional reading and Cd listening. I don't think it will by itself convert anyone who hates Wagner, but it should help a lot of other people enjoy his operas more. It is a book that is both fun to read but one with a lot of substance too!
Rating:
Summary: an excellent guide that delivers
Review: This book was truely needed. I enjoy Wagner, always have, but I know how difficult it is to initially get into his work without fear or prejudice. Berger's book is as entertaining as it is highly informative both for the Wagner novice and the seasoned afficionado. Like any good guide, the different chapters are independent and cross-readable, so you can pick up info on the different aspects of Wasgner and his music without having to go through the book chronologically. Berger has a very witty style and parts of the book are definitely written very tongue-in-cheek, which I personally appreciate. Very humorous for exmaple his observations on the different categories of Wagnerians to be observed attending an opera. Try picking them out during an intermission and you will be impressed with the authors perceptiveness! Beyond that, the book offers good, nuts-and-bolts advice (if there is such a thing in the area of music). Recently we had a staging of Parsifal here in Washington, featuring the great Placido Domingo. Parsifal is Wagner's last and longest opera, considered by many people to be the most complex, slow and boring. After reading Berger's summary and advice on tackling this piece, I had a thoroughly enjoyable time, and five hours melted down to nothing. With his help, we made the right choices about planning our intermission dinner and getting ready for the different aspects of the plot and the music. The book does not cover all of Wagner's work, but the omissions are well-chosen
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