The influence of politics on German cultural life during the third Reich, with particular reference to opera

Abstract

One of Hitler's intentions on acceding to power was to formulate a new cultural policy which would be fit to represent his new Reich. He never succeeded in this aim, and this thesis sets out to examine the reasons for his failure. Firstly, it places the efforts of the Nazis in the cultural sphere in the context of the cultural climate of Germany as a whole, and also in relation to the developments and trends which had taken place during the Twenties. Secondly, the genre of opera is considered in relation to the social and political climate of the time. When the Nazis came to power, many artists - a lot of them Jewish - either left Germany of their own accord or were driven out. This was the first step in the Nazis' purging of the arts. They then fiercely supported the operas they felt were representative of their new regime, whilst at the same time organising exhibitions to denigrate all foreign, Jewish and avant garde art. The Nazis encouraged composers to write operas with specific themes and on certain styles, and these are examined, as, too, is the role of Wagner, his influence, and position in Nazi ideology. This study concentrates on the situations in the various opera houses during the Thirties, and specifically on those composers who decided to remain, and in most cases continue their careers, in Germany during the Thirties, noting why some were successful, and the reasons why others came into conflict with the regime.