ORIGINALLY PUBLISHED IN 2001 IN AUSTRALIA/ISRAEL REVIEW
Last month, a singular event in Israeli cultural history occurred. The music of Richard Wagner (1813-83) was played at a concert of the Israel Festival by Argentinean-Israeli conductor Daniel Barenboim. Tempered flared and some Israeli public figures called for boycotting Barenboim in future musical events. These developments have renewed controversy over the logic and consistency inherent in such a ban.
Why the ban on Wagner? Ironically, Wagner was played at the first concert of the then Palestine Philharmonic Orchestra in 1936 when Arturo Toscanini showed his solidarity with Jews by undertaking the journey to Tel Aviv in the middle of the Arab Revolt to lead the newly-formed orchestra of émigrés from Nazi Germany.
This changed, however, with the advent of the Nazi genocide; Wagner occupied a pre-eminent place in Hitler’s personal Valhalla and in the political and cultural life of the Nazi regime – and thus in the memories of many of its survivors. Additionally, as Wagner’s own great-grandson Gottfried – a personal friend, I should note – has indicated, Wagner’s compendious political writings consistently urge Nazi elimination of Jews from German life and it does not take a detective to find antisemitic stereotypes and encoded political messages in his operas instantly recognisable to Wagner’s contemporaries.