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Cosima Wagner (born Francesca Gaetana Cosima Liszt; 24 December 1837 – 1 April 1930) was the daughter of the Hungarian pianist and composer Franz Liszt and Marie d'Agoult. She became the second wife of the German composer Richard Wagner, and with him founded the Bayreuth Festival as a showcase for his stage works; after his death she devoted the rest of her life to the promotion of his music and philosophy. Commentators have recognised Cosima as the principal inspiration for Wagner's later works, particularly ''Parsifal''. In 1857, after a childhood largely spent under the care of her grandmother and with governesses, Cosima married the conductor Hans von Bülow. Although the marriage produced two children, it was largely a loveless union, and in 1863 Cosima began a relationship with Wagner, who was 24 years her senior. She married him in 1870; after his death in 1883 she directed the Bayreuth Festival for more than 20 years, increasing its repertoire to form the Bayreuth canon of ten operas and establishing the festival as a major event in the world of musical theatre. During her directorship, Cosima opposed theatrical innovations and adhered closely to Wagner's original productions of his works, an approach continued by her successors long after her retirement in 1907. She shared Wagner's convictions of German cultural and racial superiority, and under her influence, Bayreuth became increasingly identified with antisemitism. This was a defining feature of Bayreuth for decades, into the Nazi era which closely followed her death in 1930. Thus, although she is widely perceived as the saviour of the festival, her legacy remains controversial. == Family background and early childhood == In January 1833 the 21-year-old Hungarian pianist and composer Franz Liszt met Marie d'Agoult, a Parisian socialite six years his senior. Marie's antecedents were mixed; her German mother, from a prominent Frankfurt banking family, had married a French nobleman, the Comte de Flavigny.〔Watson, pp. 30–31〕 Marie had been married since 1827 to Charles, Comte d'Agoult, and had borne him two daughters, but the union had become sterile. Drawn together by their mutual intellectual interests, Marie and Liszt embarked on a passionate relationship. In March 1835 the couple fled Paris for Switzerland; ignoring the scandal they left in their wake, they settled in Geneva where, on 18 December, Marie gave birth to a daughter, Blandine-Rachel.〔Watson, pp. 32–37〕 In the following two years Liszt and Marie travelled widely in pursuit of his career as a concert pianist. Late in 1837, when Marie was heavily pregnant with their second child, the couple were at Como in Italy. Here, on 24 December in a lakeside hotel in Bellagio, a second daughter was born. They named her Francesca Gaetana Cosima, the unusual third name being derived from St Cosmas, a patron saint of physicians and apothecaries;〔Hilmes, p. 2〕 it was as "Cosima" that the child became known. With her sister she was left in the care of wet nurses (a common practice at the time), while Liszt and Marie continued to travel in Europe. Their third child and only son, Daniel, was born on 9 May 1839 in Venice.〔Hilmes, pp. 4–7〕 In 1839, while Liszt continued his travels, Marie took the social risk of returning to Paris with her daughters. Her hopes of recovering her status in the city were dented when her influential mother, Madame de Flavigny, refused to acknowledge the children; Marie would not be accepted socially while her daughters were clearly in evidence. Liszt's solution was to remove the girls from Marie and place them with his mother, Anna Liszt, in her Paris home while Daniel remained with nurses in Venice. By this means, both Marie and Liszt could continue their independent lives.〔 Relations between the couple cooled, and by 1841 they were seeing little of each other; it is likely that both engaged in other affairs.〔Watson, p. 69〕 By 1845 the breach between them was such that they were communicating only through third parties.〔Watson, p. 70〕 Liszt forbade contact between mother and daughters; Marie accused him of attempting to steal "the fruits of a mother's womb", while Liszt insisted on his sole right to decide the children's future. Marie threatened to fight him "like a lioness", but soon gave up the struggle, perhaps valuing the preservation of her social status above her duties as a mother. Though they were living in the same city, she did not see either of her daughters for five years, until 1850.〔Hilmes, pp. 11–14〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Cosima Wagner」の詳細全文を読む スポンサード リンク
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