| | Performance of Wagner's music is still a sore point in [[Israel]]. However, Daniel Barenboim, one of the world's leading conductors who had grown up in Israel, broke the taboo at a July 2001 concert.<ref>http://www.guardian.co.uk/music/2002/sep/06/classicalmusicandopera.artsfeatures</ref> He has since been one of the leading Wagnerian advocates, who however doesn't soft-pedal this ugly side of the composer's life: "Wagner, the person, is absolutely appalling, despicable, and, in a way, very difficult to put together with the music he wrote, which so often has exactly the opposite kind of feelings ... noble, generous, etc.”.<ref>http://www.wsws.org/articles/2001/aug2001/wagn-a01.shtml</ref> | | Performance of Wagner's music is still a sore point in [[Israel]]. However, Daniel Barenboim, one of the world's leading conductors who had grown up in Israel, broke the taboo at a July 2001 concert.<ref>http://www.guardian.co.uk/music/2002/sep/06/classicalmusicandopera.artsfeatures</ref> He has since been one of the leading Wagnerian advocates, who however doesn't soft-pedal this ugly side of the composer's life: "Wagner, the person, is absolutely appalling, despicable, and, in a way, very difficult to put together with the music he wrote, which so often has exactly the opposite kind of feelings ... noble, generous, etc.”.<ref>http://www.wsws.org/articles/2001/aug2001/wagn-a01.shtml</ref> |
| | + | Symbolism remains an important part of modern productions, often sometimes mixed with Wagner's original symbolism, or directly intended to produce an opposite meaning. Many audiences and fans long for "traditional" stagings, which usually are increasingly rare but very successful. Wagner was performed for the first time in [[China]] by the Peking Opera in 2019 in a complete, traditional staging of the ''The Ring of Nibelung'' which even many [[Western civilization|Westerners]] had never seen. |