[[quoteright:250:[[http://commons.wikimedia.org/wiki/File:Grimm_Wagner_Karikatur.jpg http://static.tvtropes.org/pmwiki/pub/images/Wagner_as_Siegfried.JPG]]]]

->"''I am the most German of men; I am the most German of spirits. Question the incomparable enchantment of '''my''' works, compare them with all the rest: you can say nothing but -- this is '''German'''.''"
-->--'''Richard Wagner''', in his ''Brown Book'', being characteristically modest.

'''Wilhelm Richard Wagner''' (22 May 1813 -- 13 February 1883), [[DichterAndDenker German composer]] of the {{Romantic|ism}} era, primarily of {{opera}} (though he also produced a distinguished, [[TearJerker/{{Music}} melancholy]] song-cycle, the ''Wesendonck-Lieder''). Wagner was highly influential in the nineteenth and twentieth centuries, promoting a great increase in full orchestration and chromaticism in musical language (leading to the typically "lush" Late Romantic sound), the development of nationalistic styles, and the popularizing the use of themes and motifs ({{Leitmotif}}) to represent ideas and characters. His copious writings also promoted developments in the stagecraft of his period, developing the concept of the ''Gesamtkunstwerk'' or "total art work" as a fusion of all elements of a performance, words, dance, music, staging, and so on, to form a single unified experience. Being a man of consequences, eventually he wrote, composed, stage-designed, directed AND conducted his operas himself.

His principal "music-dramas" (he scorned the term "opera") include

* ''[[Theatre/TheFlyingDutchman Der fliegende Holländer]]'' (''The Flying Dutchman'')
* ''Theatre/TannhaeuserUndDerSaengerkriegAufWartburg''
* ''Theatre/{{Lohengrin}}''
* ''Die Meistersinger von Nürnberg'' (''The Mastersingers of Nuremberg'')
* ''Theatre/DerRingDesNibelungen'' (''The Ring of the Nibelung''), consisting of four parts:
** ''Das Rheingold'' (''The Rhine Gold'')
** ''Die Walküre'' (''The Valkyrie'')
** ''Siegfried''
** ''Götterdämmerung'' (''Twilight of the Gods'')
* ''Theatre/TristanUndIsolde''
* ''Parsifal''

Besides serving as models for composers of dramatic music (such as Music/BernardHerrmann, Music/AlfredNewman, Music/ErichWolfgangKorngold, and Music/MaxSteiner) up to the present, these works have themselves been frequently adapted for use in dramatic productions -- as, for example, the Bridal Chorus „''Treulich geführt''‟ from ''Lohengrin'', which has become a StandardSnippet synonymous with weddings, and his "Music/RideOfTheValkyries" from ''Walküre'', ubiquitous in contexts of war and flying. Though Wagner was by no means incapable of delicacy, his compositions have typically been used in contexts of ''Sturm und Drang''. Classic WesternAnimation/LooneyTunes cartoons seem particularly addicted to [[PublicDomainSoundtrack Wagner's music]] -- and two of the composer's greatest works were gloriously parodied in the famous short ''WesternAnimation/WhatsOperaDoc''.

His extreme nationalism caused him to be adopted very soon as a symbol of UsefulNotes/{{Germany}}, particularly in its most [[{{Prussia}} militaristic and]] [[UsefulNotes/ImperialGermany imperialist modes]], and his virulent anti-Semitism and the fact that UsefulNotes/AdolfHitler [[HitlerAteSugar loved his music]] has made Wagner the ideal musical symbol of the [[UsefulNotes/NaziGermany Nazi Reich]]: depictions of the downfall of Nazi Germany are almost automatically accompanied by "Siegfried's Funeral March" from (naturally) ''Götterdämmerung''.[[note]]It is highly unlikely that Wagner would have returned Hitler's admiration, not least because Wagner was a socialist for most of his life and befriended the Russian anarchist Mikhail Bakunin and participated in the Dresden May Uprising, which resulted in his exile by the Saxon government. Anyone actually familiar with the texts of his works will note that one of the major themes running through his work is "power is evil, love is good" - ''not'' a Nazi-friendly message in the slightest, and really much closer to anarchism.[[/note]] (Wagner's anti-Semitism may have been a case of [[BoomerangBigot Boomerang Bigotry]], as Ludwig Geyer, the man whom he suspected of being his biological father, was also (apparently incorrectly) reputed to be of Jewish ancestry.) Was once close friends with Creator/FriedrichNietzsche before [[WeUsedToBeFriends they had a huge falling out.]]

Wagner was the subject of a 1954 {{Biopic}}, ''Magic Fire'', and of ''[[http://www.youtube.com/watch?v=tiDe_HruhlY Wagner]]'', a 1983 TV mini-series starring Creator/RichardBurton.
!!Other works by Richard Wagner provide examples of:

* AddedAlliterativeAppeal: Common in Wagner, as in these lines from ''Tannhäuser'':„''Wenn wir den grimmen Welfen widerstanden,/Und den verderbenvollen Zwiespalt wehrten...''‟[[note]]"If we withstood the grim Guelphs, and warded off disastrous division...[[/note]]
** This is likely based on the fact that alliteration was the standard verse-form in Germanic poetry.
* AcCENTUponTheWrongSylLABle: Beckmesser's serenade in ''Meistersinger'' is faulted for this by „''Merker Hans Sachs''‟, as with „''die MIR wohl [=GE=]fall'n THUT''."
* AtTheOperaTonight: Wagner's operas are among the favorites for characters to attend, as in the 1931 ''{{Dracula}}'' film (''Meistersinger'') or in Nicholas Meyers' SherlockHolmes novel, ''The Seven Per Cent Solution'' (''Siegfried'').
* BadToTheBone: Wagner is very popular as an ominous cue in film; the WesternAnimation/LooneyTunes series is very fond particularly of the Nibelung and Giant [[{{Leitmotif}} motifs]] in heralding any sinister doings.
* BannedInChina: Owing to the associations with Nazi Germany and Wagner's notorious anti-Semitism, Wagner's music is more or less ''[[YiddishAsASecondLanguage farbotn]]'' in Israel.
** This is starting to change; his music has been performed in Israel, to a mixed reception. Half the crowd loved it, the other half hated it.
** [[{{Irony}} Ironically]], Theodor Herzl, founder of Zionism and a major figure in the creation of Israel, was a Wagner fan. To the point of using Wagnerian imagery at the First Zionist Congress. Which is really just one of those things...
** In 2001, Conductor Daniel Barenboim led the Israel Philharmonic in a Wagner concert. A number of the musicians refused to perform, some even showing Barenboim ''Holocaust number tattoos'' on their arms before leaving.
** In 2010, an Israeli orchestra was [[http://www.nytimes.com/2010/10/07/arts/music/07wagner.html invited to play at the next year's Wagner music festival]] -- [[http://www.guardian.co.uk/music/2010/oct/08/wagner-greatgranddaughter-israeli-orchestra-invite never mind]].
** In fact, during WW2, his music was banned even in English speaking countries like America and Britain.
* BSODSong: Usually, for some reason, sung by a bass-baritone.
* BrawnHilda: The character, in his adaptation of ''{{Literature/Nibelungenlied}}'', is the TropeMaker.
* CelibateHero: Parsifal, in his eponymous opera (though he does, of course, eventually father Lohengrin).
* TheChosenOne: Parsifal, „''der reine Thor, den [Gott] erkor' ''‟
* CombatByChampion: When Elsa is accused by murder, Lohengrin shows up to serve as her champion and defeat her accuser Telramund in single combat and thereby establish her innocence.
* CommonTime: For example, the Festival March from ''Tannhäuser''.
* CompletelyDifferentTitle: Most European nations translate the title of ''Der fliegende Holländer'' directly. The French always thought this sounded silly, and so gave it the title ''Le Bateau Fantôme'' (The Ghost Ship) or ''Le Vaisseau Fantôme'' (The Ghost Vessel).
** As did Russians. In USSR, ''Der fliegende Holländer'' was performed under the title ''The Wandering Sailor''. Now, though, they have returned to the original.
* CoolSword: As Lohengrin tells Elsa of the blade he gives her for Gottfried, „''In wildem Kampf, dies' Schwert ihm Sieg verleit.''‟
** Siegmund's sword Notung, shattered by Wotan and [[ForgingScene reforged]] by Siegfried.
* CurbStompBattle: The combat between Lohengrin and Telramund lasts perhaps two minutes, and is set to rather perfunctory music.
* DarkAgeEurope / TheLowMiddleAges: ''Parsifal, Lohengrin, Tristan und Isolde''
* DreadfulMusician: Wagner was a horrible pianist, but he said that he played it "a great deal better than Berlioz" -- who couldn't play the piano '''''at all'''''.
* EngagementChallenge: In ''Die Meistersinger von Nürnberg'' by Richard Wagner, Walther must win the song contest at the feast of St. John before he gets the hand of Eva.
* TheEpic: ''Parsifal''. All six hours of it.
** ''Theatre/DerRingDesNibelungen''.
* EvilSorcerer: Ortrud in ''Lohengrin''; Klingsor in ''Parsifal''.
* EvilSoundsDeep: As with Telramund and Klingsor (even in his...er...''condition'', which should have him singing soprano).
** On the other hand, Landgrave Hermann, Henry the Fowler, Hans Sachs, Gurnemanz, and Titurel are all deep-voiced goodies; and on the ''other'' other hand, Ortrud is a mezzosoprano/soprano.
* {{Fanfare}}: Several of Wagner's [[{{Leitmotif}} Leitmotifs]] (''e.g.'', Lohengrin's motif) have the character of fanfares; more conventional examples introduce the Overture to ''Rienzi'' and the Festival March from ''Tannhäuser''. At Bayreuth, certain motifs are [[http://www.youtube.com/watch?v=uQW8oYVMt1U played as fanfares]] from the balcony of the ''Festspielhaus'' to announce the beginning of an act.
* {{Faust}}: The subject of an overture by the composer.
* FemmeFatale: Kundry from ''Parsifal''.
* FlameWar: Bringing up Wagner in any opera discussion forum will lead to some very heated remarks [[LoveItOrHateIt on both sides]]. As if his "revolutionary music" wasn't controversial enough, his anti-Semitic rants and the whole [[HitlerAteSugar Hitler]] angle guarantee that GodwinsLaw is inevitable. One music historian said, "I never discuss [[BanOnPolitics politics, religion, or]] [[TheLastOfTheseIsNotLikeTheOthers Wagner.]] It always makes for bad blood and originates quarrels."
* FlyingDutchman: Wagner's is the definitive version.
** His land-bound DistaffCounterpart is Kundry in ''Parsifal''.
* GermanLanguage: While ''[[{{Leitmotif}} Leitmotiv]]'' was actually coined rather by Hans von Wolzogen rather than by Wagner, we do owe to Richard that suitably impressive Teutonic term, ''Gesamtkunstwerk'' -- the "total art work" or combinations of all forms of art, music, theater, painting, dance, and so on, to make up one unified art-form.
* GenreBusting: The whole point of the ''Gesamtkunstwerk.''
** ''Tristan und Isolde'', and its prelude especially, is often cited as the UrExample of the modernist departure from tonality. While the work is still rooted in the traditions of German music, Wagner stretched the tonal system [[TrueArtIsIncomprehensible well beyond the limits]] of many listeners and critics in his day - often delaying the resolutions to dominants or not giving them at all.
* GenrePopularizer: The modern idea of opera - as a serious, thought-provoking art form, as full of fat ladies in horned helmets - comes largely from Wagner. Besides creating modern opera, his writings on the ''Gesamtkunstwerk'' also played a huge role in the development of TheMusical and film scoring (the latter of which was also influenced by his ideas about orchestration).
* GhostShip: Wagner's interpretation of the Flying Dutchman legend had the ship filled with a phantom crew.
* HeartBeatSoundtrack: Wagner often used kettledrums this way in his music dramas.
* TheHeavy: Klingsor in ''Parsifal'' is perhaps a typical example.
* TheHighMiddleAges: ''Rienzi'' and ''Tannhäuser''
* HistoricalDomainCharacter: Real people continually show up in the operas: Herman, Landgrave of Thuringia; Walter von der Vogelweide, Wolfram von Eschenbach, and the title-character himself in ''Tannhäuser''; King Henry the Fowler in ''Lohengrin''; Hans Sachs and the other Mastersingers in ''Meistersinger''.
* HitlerAteSugar: Yes, UsefulNotes/AdolfHitler was a fan of Wagner's music; no, it does not necessarily mean that [[GodwinsLaw if someone else is a fan of Wagner's music, they're a Nazi]]. Wagner did infamously publish some [[UnfortunateImplications nasty anti-semitic pamphlets]], but most fans today are willing to separate the composer's distasteful views from his musical achievements. Put it this way: Famous admirers of Wagner's music also include [[http://www.nytimes.com/1991/12/19/opinion/editorial-notebook-wagner-israel-and-herzl.html Theodor Herzl, the founder of Zionism]].
* HolyRomanEmpire: The setting of ''Tannhäuser'' and (very explicitly) ''Meistersinger''.
* HotBlooded: Walther in ''Meistersinger'' „''flammt auf''‟ when Sachs suggests that Beckmesser may be his rival for Eva's hand.
* IdiotHero: Parsifal, „''der reine Thor''‟ ("the pure fool"). Also Siegfried who is too stupid to learn what fear is.
* KillEmAll: Wagner started on the path of Everyone Dies early. His boyhood tragedy ''Leubald'' featured twenty-four deaths; by the last act, he had killed off so many that he had to bring some characters back as ghosts.
** Played out to a very literal and final conclusion in Götterdämmerung. The world is destroyed and literally everyone except the Rhine Maidens (Yes even the Gods) is killed.
* KingArthur: ''Parsifal'' is somewhat loosely based on Wolfram von Eschenbach's Arthurian romance ''Parzival''. Wagner's earlier ''Lohengrin'' also tangentially touches the Grail myth. Note that Wagner moves the action from the 5th to the 10th century A.D.
* LadyMacbeth: Ortrud
* {{Leitmotif}}: The Leitmotif technique, if not invented by Wagner, was certainly perfected by him. In his operas, not only would every character have his/her own motif, but also objects, places, and even abstract ideas, all of which would be woven into a complex symphonic whole, in which the variations of the motifs have a psychological effect far more significant than a mere announcement of a character's presence.
* LightIsNotGood: For a Romantic like Wagner, light was associated with the order, reason, and civilization of the previous century's Classicism, while Romanticism invoked chaos, emotions, nature or savagery, and darkness. This is seen in ''Tristan und Isolde'', where the eponymous lovers meet in dark forests to proclaim their irrational love for each other, while Isolde's husband King Marke is associated with the light, civilization, and reason.
* ''[[LohengrinAndMendelssohn Lohengrin]]'' [[LohengrinAndMendelssohn and Mendelssohn]]: The Master [[TropeNamer provided]] half the trope name; he probably would not [[BerserkButton have been pleased]] with [[AmbiguouslyJewish the other half]].
* LoveAtFirstSight: Plenty of examples in Wagner's operas.
** In ''Lohengrin,'' our hero asks Elsa to marry him immediately after arriving in Brabant on a swan-led boat.
** Isolde plans to kill Tristan with a sword, but instead she falls in love with him after viewing his piteous glance.
* LovePotion: Shows up in ''Tristan und Isolde'' -- with [[SeriousBusiness portentous consequences]].
* MaliciousSlander: In ''Lohengrin'', Elsa is falsely accused of killing her little brother Gottfried, the child-Duke of Brabant [[spoiler: (who had actually been turned into a swan by the [[EvilSorcerer Evil Sorceress]] Ortrud.]] Then the eponymous KnightInShiningArmor comes to her rescue.
* MeaningfulName: Wagner makes a big deal out of Parsifal's name being Persian for "pure fool." [[CriticalResearchFailure It isn't, really.]]
* TheMiddleAges: The setting for most of his music-dramas.
* MoodMotif: One of the basic functions of the ''[[{{Leitmotif}} Leitmotiv]]''.
* MrExposition: Gurnemanz in ''Parsifal''. Almost all of Act I consists of Gurnemanz explaning the back story.
* MusicOfNote: Even more famous than the "Music/RideOfTheValkyries" is the StandardSnippet „''Treulich geführt''‟ (AKA "Here Comes the Bride") from ''Lohengrin'' -- but Wagner works are stuffed so full of MusicOfNote that it would be easier to list his "American Centennial March" right away.
** Among music theory circles, the first three bars of ''Tristan und Isolde'' is one of the most widely analysed and debated moments in Wagner's whole output, mostly due to the infamous "Tristan chord." These bars have been subsequently quoted by many composers, either seriously or in jest, i.e. [[ClaudeDebussy Debussy]] in "Golliwog's Cakewalk. [[Music/PDQBach Peter Schickele]] also parodied it in ''Last Tango in Bayreuth.''
* NiceHat: Besides popularizing winged (and [[HornyVikings horned]]) helmets, the composer's own characteristic large, slouched beret (see pic, above) is actually called a ''Wagnerkappe'' in German.
* NoCelebritiesWereHarmed: Besides Elisabeth in ''Tannhäuser'', who is modeled on (but not identified with) the historical St. Elisabeth of Thuringia, it is said that the character of Beckmesser in ''Meistersinger'' was meant as a caricature of the Viennese music critic, Eduard Hanslick.
* NoPlansNoPrototypeNoBackup: It has been asserted that when composing the ''Ring'', Wagner at one point intended for the operas to be performed three times in a purpose-built opera house. Afterward, all copies of the score and all the props were to be burned, along with the ''entire opera house''. Obviously this did not happen.
* NorseMythology: Wagner has hugely affected the popular perception of it. This is despite the fact that very little of ''The Ring'' actually comes straight from Norse legends; Wagner made plenty of it up and took artistic license with the rest.
* OldShame: His first two works, ''Die Feen'' ("The Fairies") and ''Das Liebesverbot'' ("The Ban on Love"). The third, ''Rienzi, der Letzte der Tribunen'' ("Rienzi, the Last of the Tribunes"), suffered CreatorBacklash, but is still sometimes performed today.
* OnlyTheChosenMayWield: The sword in the ash tree, which can be only pulled out by Siegmund, as he does in ''Die Walküre'' Act I.
* {{Opera}}: Uh...yeah. Wagner did compose a few other works, such as the ''Wesendonck-Lieder'' and the ''Siegfried-Idyll'' -- but the music-dramas constitute the composer's most extensive and important achievement.
* OrchestralBombing: The [[http://www.youtube.com/watch?v=ZOQlG8YRxEQ Prelude to Act III of ''Lohengrin'']], has become something of a StandardSnippet for air raids (as well, of course, as the ''[[http://www.youtube.com/watch?v=V92OBNsQgxU Walkürenritt]]'').
* PimpedOutDress: Quite a few performances of his operas will dress the female leads in one when appropriate.
** In 2011, a performance of ''Lohengrin'' dressed Elsa and Ortrud in mostly matching dresses with bell-shaped skirts [[FluffyFashionFeathers covered with feathers]]. Elsa's was her FairytaleWeddingDress, and Ortrud's was [[EvilWearsBlack all black]] with OperaGloves.
* PopCulturalOsmosis: An astonishing number of Wagnerians have been attracted to his music ''via Film/ApocalypseNow'' and WesternAnimation/LooneyTunes cartoons.
* ThePowerOfLove: In ''Holländer'' Vanderdecken is saved from eternal maritime damnation by Senta's faithful love; in ''Tannhäuser'', Heinrich is saved from eternal intramontane damnation by Elisabeth's faithful love. On the other hand, in ''Lohengrin'' Elsa's love for the eponymous swan-knight brings causes her to ask the fateful question which drives him away. Though Walther and Eva love each other, of course, it is rather The Power of Art than ThePowerOfLove that brings about the happy ending in ''Meistersinger''. Tristan and Isolde's love brings destruction upon them. Parsifal actually ''rejects'' the love (if one can call it that) of the Flower Maidens and Kundry to become the hero. Invoked in Wagner's earlier works, this trope is more often [[SubvertedTrope subverted]] in his later ones.
* {{Prequel}}: ''Parsifal'' can be thought of as a prequel to ''Lohengrin''.
** Wagner's greatest spate of Prequelitis came during the crafting of ''Der Ring des Nibelungen.'' Originally, he'd envisioned only a single opera, ''Siegfrieds Tod'' (the Death of Siegfried), but realized while writing it that there was too much back-story he needed to get out of the way, so he began work on a prequel named ''Siegfried''. Then he realized that ''this'' opera also had a large amount of back-story, so he began writing a prequel to it named ''Die Walküre''. Finally, he realized that this, too, had too much back-story the audience needed to know, so he started in on a prequel to it named ''Das Rheingold.'' Decades later, ''Siegfrieds Tod'' had become ''Goetterdämmerung'', and he had a four-opera mega-epic on his hands.
* PublicDomainArtifact: The Grail in ''Lohengrin'' and ''Parsifal''; the Holy Spear in ''Parsifal''. (The Ring (or rather, any of its prototypes) was not a well-known artifact before Wagner.)
* RecycledTrailerMusic: Long even before ''Film/ApocalypseNow'', Wagner's works were popular musical "fillers" for as yet uncomposed scores.
* TheRenaissance: The setting for ''Meistersinger''.
* "Music/RideOfTheValkyries": The TropeNamer comes from ''Die Walküre''.
* SadlyMythtaken: Or sometimes [[TheyJustDidntCare Willfully Mythtaken]]. Wagner has enraged folklorists from his own time to the present for adapting ancient myths and legends with abandon, and in the process, ousting the originals from the minds of most of the public.
* SerialEscalation: Where Wagner took opera -- I mean, ''Bühnenfestspiel''.
* SpaceJews: Klingsor from ''Parsifal'' is generally considered to be one of these. Some would also include the Nibelungs, specifically from Mime, from the Ring, though there's less evidence of that.
* StandardSnippet: Besides the obvious ''Lohengrin'' wedding and ''Walküre'' bombing examples, storms at sea have very commonly invoked the Overture to ''Der fliegende Holländer''.
* StarCrossedLovers: Senta and The Dutchman die (but go to Heaven); Elisabeth and Heinrich die (and probably go to Heaven); Elsa and Lohengrin are parted forever (until they meet in heaven?); Tristan is mortally wounded, Isolde falls dead onto his body (Liebestod). Falling in love is generally not a good idea in a Wagner opera.
* StylisticSuck: As with Beckmesser's ludicrous serenade in ''Meistersinger''.
* TakeThat: As mentioned previously (See NoCelebritiesWereHarmed above) Sixtus Beckmesser in ''Die Meistersinger'' was reputed to be a thinly-veiled caricature of Viennese music critic Eduard Hanslick. More directly, Wagner mocked rival composers such as Meyerbeer and Rossini in his prose works.
* TenorBoy: Erik, Lohengrin, Walther, Siegfried and Parsifal -- the more "boyish" Wagnerian rôles. Perhaps subverted in ''Tannhäuser,'' in which the more sensual Heinrich is a tenor, the more innocent Wolfram a baritone.
* ThemeSongReveal: One of the basic uses of the {{Leitmotif}}.
* ThrowingOutTheScript: In ''Die Meistersinger von Nürnberg'', when Walther starts singing his prize song at the contest (after Beckmesser made a travesty out of it), Kothner unconsciously drops the music sheet. Walther sees this and turns his song into a more elaborate one than what he had set down earlier.
* TrialByCombat: Lohengrin fights a judicial combat for Elsa of Brabant in his eponymous opera.
* [[{{Ubermensch}} Übermensch]]: Nietzsche saw Siegfried as the type of the new man who would transcend outworn moralities.
* {{Valkyries}}: It is Wagner's version that most people think of when imagining these mythological "Gatherers of the Slain" -- however, it is worth noting that unlike the popular conception, Wagner's original Valkyries did '''not''' wear horned helmets, but winged ones; did '''not''' ride winged horses, though they were aerial ones; and, though intended to be rather manly, ungentle women, were intended to be statuesque in the 19th century manner, rather than grossly obese.
* WhatCouldHaveBeen: After ''Parsifal'', Wagner planned to spend the rest of his life composing symphonies. Unfortunately, he did not live that long.
** On the subject of ''Parsifal'', he planned to rewrite Klingsor for the castrato Domenico Mustafa.
** Also, Wagner once planned a music drama on the life of [[{{Buddhism}} Buddha]].
* WhatTheHellHero: ''Parsifal'' actually introduces its eponymous hero this way, with him being reprimanded for senselessly killing a swan. Of course, he's TheFool and has a lot to learn -- he doesn't even know his name at this point.
* WomanScorned: Kundry's reaction, when Parsifal rejects her allurements, is not understanding.
* WorldOfHam: "Wagnerian" has become practically a synonym for this.
!!Notable Works which cite Wagner or his works:


[[folder:Animated Film]]
* One of the planned sequences for Creator/WaltDisney's ''Disney/{{Fantasia}}'' was the "Music/RideOfTheValkyries."

[[folder:Anime and Manga]]
* ''Manga/GiantRobo''
* ''Manga/TheLegendOfKoizumi'' features a [[StupidJetpackHitler reincarnated cyborg Wagner]] as one of ThoseWackyNazis whom our heroes battle, complete with [[CallingYourAttacks attacks]] based on his operas. Later in the arc, Hitler's seconds are named Tristan and Isolde.
* The evil character Dietrich von Lohengrin in the anime and manga of ''LightNovel/TrinityBlood'' presumably derives his surname from Wagner's operatic hero.
* In ''Anime/ShinMazinger'', Tristan and Isolde turns out to be [[spoiler: the two halves of Baron Ashura.]]
* Episode 61 of ''Anime/LegendOfGalacticHeroes'' features a character sitting at the performance of ''Die Meistersinger von Nürnberg''.'
** ''Legend of the Galactic Heroes'' has a completely classical music soundtrack, and Wagner is among the many composers whose music are used in the background music. Other Wagner's works frequently used in the series include Siegfried Idyll and the Symphony in C major.

* ''Film/ApocalypseNow'': In which, of course, the ''Walkürenritt'' provides a SugarWiki/CrowningMusicOfAwesome for the "Music/RideOfTheValkyries".
* ''Film/BladeRunner'': Roy Batty mentions the Tannhauser Gate in his dying speech, though it is not clear whether this is a ShoutOut to Wagner or to the actual [[TheHighMiddleAges thirteenth century]] Minnesinger. He pronounced it "Tann-howz-er".
* The film ''Film/{{Excalibur}}'' makes use of the Preludes to ''Tristan'' and ''Parsifal'', as well as the Siegfried's Funeral March from ''Götterdämmerung''.
* In Creator/WoodyAllen's film ''Film/ManhattanMurderMystery'', his character Larry Lipton takes several digs at Wagner, such as: "I can't listen to that much Wagner, ya know? I start to get the urge to conquer Poland."
** Wagner is also mentioned briefly in ''Film/AnnieHall'', when Alvy is worried that the record store owner was making an anti-Semitic joke by mentioning that he was having a sale on Wagner.
* ''Film/{{Valkyrie}}'': Tom Cruise makes the [[{{Anvilicious}} obvious]] invocation.
* In ''OneTwoThree'', the German doctor is a big fan of him and sadly missed the 3rd act of ''Die Walküre / The Valkyrie''.
* The overture from ''Das Rheingold'' is used in the opening scene of ''Film/TheNewWorld''
* Tristan und Isolde is played in the opening sequence of Lars Von Trier's ''Film/{{Melancholia}}''.
* Wagner has a prominent role in the German film ''Ludwig II'', as the titular king was a huge fan of his and sponsored him during a rough period in his career.

* In JamesHerriot's ''All Creatures Great and Small'' books, Siegfried and Tristan Farnon got these names because their father was a fan of Wagner.
* In George C. Chesbro's ''The Beasts of Valhalla'', EvilutionaryBiologist Siegmund Loge (ha ha) is a fanatical Wagner fan.
* The main character of Creator/RobertAHeinlein's ''Literature/TheCatWhoWalksThroughWalls'' also admits to cribbing the plot for one of his books from ''Der Ring des Nibelungen''.
* Creator/FriedrichNietzsche: Originally a fan and friend of Wagner, who later broke bitterly with him and wrote a TakeThat [[AuthorFilibuster essay]] against him called ''Der Fall Wagner'' ("The Case of Wagner"); he later had a collection of essays entitled ''Nietzsche contra Wagner'' to prove that this wasn't a one-time thing.
* ''Flying Dutch'' by Creator/TomHolt has the original FlyingDutchman as the protagonist. It turns out he told his story to Wagner, who never fully recovered and was prone to peals of demented laughter when a specific historical king was mentioned. (The same author's first work, ''Expecting Someone Taller'', is a LighterAndSofter sequel to the ''Ring'', in which the titular McGuffin falls into the hands of a naive and well-meaning Englishman. Notable among other things for the fact that, unlike Siegfried, he has to be ''bullied'' into drinking dragon's blood so as to learn the language of the birds, and when he does, it absolutely ruins the countryside for him, since the birds just ''won't shut up'' and have nothing very interesting to say.)
* Stephen R. Donaldson's ''The Gap'' series is literally a SpaceOpera, being an adaptation of the ''Ring'' InSpace.
* In Haruki Murakami's short story "The Second Bakery Attack," the narrator recalls a bakery robbery he and a friend had committed in college, in which the baker had allowed them to take as much as they wanted as long as they agreed to listen to listen to a full Wagner record.
* In Nicholas Meyer's SherlockHolmes {{Pastiche}} ''The Seven Per Cent Solution'', Holmes (who adores Wagner), Dr. Watson, and Sigmund Freud all attend a performance of ''Siegfried''; Watson and Freud fall asleep.

[[folder:Live Action TV]]
* On an episode of ''Series/{{Cheers}}'': Rebecca's wealthy boyfriend promises her a wonderful gift and references a "ring." She gets a desk. Convinced that there's an engagement ring hidden inside, she literally tears the desk apart to find it. Then Sam finds the packing slip, explaining that it's the very valuable and historic desk at which Wagner composed ''Der Ring des Nibelungen''.
* In the ''Series/CurbYourEnthusiasm'' episode "Trick or Threat", when Larry whistles a tune from Wagner, a man accuses him of being a "self-hating Jew", as Wagner was a notorious anti-Semite. At the end of the episode, Larry takes revenge on him by hiring an orchestra and conducting them to play Wagner in front of the guy's house.
* On ''Series/KirRoyal'', the protagonists use the aliases [[Music/RichardWagner "Siegfried" and "Wieland"]], the names of Richard's son and grandson (while posing as the nephews of a Jewish composer, of all things).
* ''Series/RumpoleOfTheBailey'' makes Claude Erskine-Brown's love of Wagner something of a RunningGag (and {{Flanderization}}, as he started out being just a general opera buff). He even names his kids Tristan and Isolde.
* In an episode of the short lived series Veritas: The Quest, the protagonists find Albert Speer's secret bunker. One of them starts going through a record collection in the corner: "[[BillBillJunkBill Wagner...Wagner...Wagner...Best Of Wagner...]]"


* Jim Steinman coined the term "Wagnerian rock" to describe the music he wrote (for an example, listen to any track from the first two ''[[MeatLoaf Bat Out of Hell]]'' albums).
* Music/GraveDigger's ''Rheingold'' a ConceptAlbum which is based on ''The Ring of the Nibelung''.

* The great Creator/AnnaRussell hilariously parodied Wagnerian operas in routines like "[[http://www.youtube.com/watch?v=Ve7wH-k8LgQ The Ring of the Nibelungs: An Analysis]]" [''sic''] and the PoirotSpeak-based "[[http://www.youtube.com/watch?v=SPhFBE4UGvA Schreechenrauf]]."

[[folder:Video Games]]
* ''VideoGame/GabrielKnight'': In the second game of the series, Wagner appears with King Ludwig of Bavaria in a BeethovenWasAnAlienSpy plot in which one of his music-dramas is a LiteraryWorkOfMagic.
* In the ''SamAndMax'' episode ''The Tomb of Sammun-Mak'', we know that [[LittleMissBadass little]] [[BeethovenWasAnAlienSpy Amelia Earhart]] listens to "The Ride of the Valkyries" as a lullaby.
* The ActionRPG ''VideoGame/OdinSphere'' is riddled through with Wagnerian references.

[[folder:Western Animation]]
* In ''Franchise/{{Bionicle}}'', the music played when the Le-Matoran are preparing to attack the Nui-Rama Hive is the "Music/RideOfTheValkyries".
* A brief snippet of the ''Meistersinger'' overature introduces the ClassicDisneyShort, "Disney/DerFuehrersFace".
* The Master himself, with Cosima and ''Kinder'' appear as animated characters (directed by Creator/FrizFreleng) in the otherwise live-action 1943 film ''[[http://www.youtube.com/watch?v=eWOU6PmkgXA Hi Diddle Diddle]]''.
* In an episode of ''WesternAnimation/TheSimpsons'', Mr. Burns gets to fight in a tank ("I've been waiting 25 years for this"), and he plays "Music/TheRideOfTheValkyries" as the [[SugarWiki/AwesomeMusic Crowning Music Of Awesome]]. He gets [[RickRoll Rickrolled]].
* The ''WesternAnimation/LooneyTunes'' short, ''WesternAnimation/WhatsOperaDoc'' (and its 1945 precursor, ''Herr Meets Hare'').