By the early 1870s, the term ‘filth’ had become Wagner’s shorthand for Offenbach. He attacked his fellow composer both publicly and privately and sought to establish a polarity between the two, confining Offenbach to the realm of frivolous and materialistic popular folk culture while casting his own work as exemplary of the new German spirit. Laurence Senelick’s close analysis of Wagner’s writings, including his notorious 1869 essay ‘Jewishness in Music’, shows this critique to be fuelled by jealousy, cultural imperialism, and his growing anti-Semitism. Nietzsche is included here as a counterpoint, challenging his former mentor and celebrating Offenbach as the exemplar of Jewish genius. Laurence Senelick is Fletcher Professor of Drama and Oratory at Tufts University and Fellow of the American Academy of Arts and Sciences. His most recent books include Soviet Theater: A Documentary History (2014, with Sergei Ostrovsky) and the second, enlarged edition of A Historical Dictionary of Russian Theatre (2015). This article is taken from his forthcoming The Offenbach Century: His Influence on Modern Culture (Cambridge University Press).

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奥芬巴赫、瓦格纳、尼采：歌剧的论战

到 1870 年代初，“污秽”一词已成为瓦格纳对奥芬巴赫的简写。他公开和私下攻击他的同胞作曲家，并试图在两者之间建立对立，将奥芬巴赫限制在轻浮和物质主义的流行民间文化领域，同时将自己的作品塑造成新德国精神的典范。劳伦斯·塞内利克对瓦格纳著作的仔细分析，包括他在 1869 年臭名昭著的论文《音乐中的犹太人》，表明这种批评是由嫉妒、文化帝国主义和他日益增长的反犹太主义推动的。尼采在这里作为对立面，挑战他的前导师，并庆祝奥芬巴赫是犹太天才的典范。劳伦斯·塞内利克（Laurence Senelick）是塔夫茨大学弗莱彻戏剧和演讲教授，也是美国艺术与科学院院士。苏联剧院：一部纪录片历史（2014 年，与谢尔盖·奥斯特洛夫斯基合作）和第二版，扩大版俄罗斯戏剧史辞典（2015 年）。本文取自他即将发表的奥芬巴赫世纪：他对现代文化的影响（剑桥大学出版社）。