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Francesca Gaetana Cosima Wagner ( née Liszt; 24 December 1837 – 1 April 1930) was the daughter of the Hungarian composer and pianist Franz Liszt and Franco-German romantic author 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 ...
Apr 15, 2024 · Cosima Wagner was the wife of the composer Richard Wagner and director of the Bayreuth Festivals from his death in 1883 to 1908. Cosima was the illegitimate daughter of the composer-pianist Franz Liszt and the countess Marie d’Agoult, who also bore Liszt two other children.
Wagner, Cosima (1837–1930) Daughter of one great musician and wife of another who was instrumental in helping found Bayreuth, the festival featuring her husband's operas, and ensuring its survival as an annual event of worldwide fame . Born Cosima Liszt in Bellagio, on Lake Como, on December 24, 1837; died in Bayreuth, Germany, on April 1 ...
Feb 13, 2013 · Watch here Cosima was 24 years younger than Wagner, and outlived him by almost half a century, dying at the age of 92 in 1930. She devoted her life after Wagner's death in 1883 to keeping the ...
Francesca Gaetana Cosima Wagner was the daughter of the Hungarian composer and pianist Franz Liszt and Franco-German romantic author 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.
Cosima Wagner (born December 25, 1837, Bellagio, Lombardy, Austrian Empire [now in Italy] – died April 1, 1930, Bayreuth, Germany), wife of the composer Richard Wagner and director of the Bayreuth Festivals from his death in 1883 to 1908. Cosima was the illegitimate daughter of the composer-pianist Franz Liszt and the countess Marie d’Agoult.
Jul 9, 2011 · Cosima Liszt-Bülow-Wagner is inseparable from the saga of Richard Wagner (1813-83) and his artistic legacy. Controversial as Wagner’s art was to be for generations, his stature was never in doubt. But our image of Cosima has been a curiously shifting one. It continues to be so, in ways worth assessing, if only so that we might understand ...
