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* CrosscastRole: The "young shepherd" in Act I is sometimes played by a boy treble, and sometimes by a female soprano, but in either case is generally costumed like a boy. Same with the "Four Pages" right before the Song Contest.
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* ShamingTheMob: The knights are shocked and enraged by Heinrich's lascivious song and have already drawn steel on him, when Elizabeth convinces them to banish him instead. He's given the option of joining a pilgrimage to Rome and seeking absolution and forgiveness, and only then is he allowed to return.
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* ShamingTheMob: The knights are shocked and enraged by Heinrich's lascivious song and have already drawn steel on him, when Elizabeth Elisabeth convinces them to banish him instead. He's given the option of joining a pilgrimage to Rome and seeking absolution and forgiveness, and only then is he allowed to return.
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* TogetherInDeath: Some productions end with a vision of Heinrich and Elisabeth ascending to Heaven together.
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* IWantMyBelovedToBeHappy: Wolfram has intense feelings for Elizabeth, but recognizes that she is in love with Heinrich, and only prays for her happiness.
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* IWantMyBelovedToBeHappy: Wolfram has intense feelings for Elizabeth, but recognizes that she is in love with Heinrich, and only prays for her happiness.
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* HistoricalDomainCharacter: Quite a few: ''der Tannhäuser'' (''c''. 1205 - ''c''. 1270) himself (though, as far we know, he was not named Heinrich -- he ''may'' have been named Liutpolt), a mid-thirteenth century minnesinger, some of whose songs have survived; Herman, Landgrave of [[UsefulNotes/TheSixteenLandsOfDeutschland Thuringia]] (''c''. 1160 - 1217); Wolfram von Eschenbach (''c.'' 1170 - ''c.'' 1220), possibly the greatest of mediæval Germany's narrative poets (whose ''Parzival'' inspired Wagner's ''Parsifal''); Walther von der Vogelweide (''c''. 1175-''c.'' 1230), certainly mediæval Germany's greatest lyric poet; ; Heinrich der Schreiber (''c''. 1180 - ''c''. 1230); and Reinmar von Zweter (''c''. 1200 - ''c''. 1250.
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* HistoricalDomainCharacter: Quite a few: ''der Tannhäuser'' (''c''. 1205 - ''c''. 1270) himself (though, as far we know, he was not named Heinrich -- he ''may'' have been named Liutpolt), a mid-thirteenth century minnesinger, some of whose songs have survived; Herman, Landgrave of [[UsefulNotes/TheSixteenLandsOfDeutschland Thuringia]] (''c''. 1160 - 1217); Wolfram von Eschenbach (''c.'' 1170 - ''c.'' 1220), possibly the greatest of mediæval Germany's narrative poets (whose ''Parzival'' ''Literature/{{Parzival}}'' inspired Wagner's ''Parsifal''); Walther von der Vogelweide (''c''. 1175-''c.'' 1230), certainly mediæval Germany's greatest lyric poet; ; Heinrich der Schreiber (''c''. 1180 - ''c''. 1230); and Reinmar von Zweter (''c''. 1200 - ''c''. 1250.
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Wagner based the plot of his opera on a conflation of two originally unconnected legends. The first tells of a minnesinger (or "minstrel of love") and knight, called ''the'' Tannhäuser (literally, "man from the fir-tree-home"), who descended into a subterranean kingdom under a mountain (the so-called "Mountain of Venus" or ''Venusberg'', identified by Wagner with the real [[http://www.grosserhoerselberg.de/garbage/31/318277/1222017.jpg Hörselberg]] near the town of [[http://en.wikipedia.org/wiki/Eisenach Eisenach]]) and won the favors of the goddess of love (called alternately Venus or Holda, her Latin or German names, by Wagner); after a period of some years, the knight repented and fled the Venusberg to seek penance from [[UsefulNotes/ThePope Pope Urban IV]]; the pope rejects his penitence, telling him that sooner will his staff grow new leaves than forgiveness be possible for such as he, and Tannhäuser, despairing, returns to Venus -- three days later the staff does indeed burst into leaf, but the pope's messengers cannot find the knight. The second tells of the "War of Song" conducted by the legendary minnesinger Heinrich von Ofterdingen (and his sorcerous companion Clinschor (=Klingsor (!)) of Hungary) against the most famous minstrels of mediæval Germany at the court of ''Landgraf'' (or "territorial count") Hermann von [[UsefulNotes/TheSixteenLandsOfDeutschland Thüringen]]; in the course of which Clinschor prophecies the birth of Elizabeth of Hungary, later to be the wife of the Landgrave's son and a canonized saint. Wagner radically reshaped these legends, identifying the [[HistoricalDomainCharacter historical]] (though pseudonymous) Tannhäuser with the (probably) mythical Ofterdingen, and transporting the former from his own time (''fl. c''. 1250 A.D.) to that of Landgrave Hermann I of Thuringia, some 50 years before, and transforming the Landgrave's daughter-in-law into his niece and Tannhäuser's true love
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Wagner based the plot of his opera on a conflation of two originally unconnected legends. The first tells of a minnesinger (or "minstrel of love") and knight, called ''the'' Tannhäuser (literally, "man from the fir-tree-home"), who descended into a subterranean kingdom under a mountain (the so-called "Mountain of Venus" or ''Venusberg'', identified by Wagner with the real [[http://www.grosserhoerselberg.de/garbage/31/318277/1222017.jpg Hörselberg]] near the town of [[http://en.wikipedia.org/wiki/Eisenach Eisenach]]) and won the favors of the goddess of love (called alternately Venus or Holda, her Latin or German names, by Wagner); after a period of some years, the knight repented and fled the Venusberg to seek penance from [[UsefulNotes/ThePope Pope Urban IV]]; the pope rejects his penitence, telling him that sooner will his staff grow new leaves than forgiveness be possible for such as he, and Tannhäuser, despairing, returns to Venus -- three days later the staff does indeed burst into leaf, but the pope's messengers cannot find the knight. The second tells of the "War of Song" conducted by the legendary minnesinger Heinrich von Ofterdingen (and his sorcerous companion Clinschor (=Klingsor (!)) of Hungary) against the most famous minstrels of mediæval Germany at the court of ''Landgraf'' (or "territorial count") Hermann von [[UsefulNotes/TheSixteenLandsOfDeutschland Thüringen]]; in the course of which Clinschor prophecies the birth of Elizabeth of Hungary, later to be the wife of the Landgrave's son and a canonized saint. Wagner radically reshaped these legends, identifying the [[HistoricalDomainCharacter historical]] (though pseudonymous) Tannhäuser with the (probably) mythical Ofterdingen, and transporting the former from his own time (''fl. c''. 1250 A.D.) to that of Landgrave Hermann I of Thuringia, some 50 years before, and transforming the Landgrave's daughter-in-law into his niece and Tannhäuser's true love
love.
