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In no time Nietzsche became a regular weekend visitor to Wagner’s sumptuous villa on the shores of Lake Lucerne. But Wagner’s life was operatic in more than just musical, emotional, and political terms. He was a man who believed in living out his fantasies to the full. Tribschen was like an opera in itself, and there was never any doubt about who was playing the leading role. Dressed in the “Flemish style” (a blend of the Flying Dutchman and Rubens in fancy dress), Wagner strode beneath the pink satin walls and rococo cherubs in his black satin breeches, tam-o’-shanter, and effusively knotted silk cravat, declaiming among the busts of himself, vast oil paintings (of the same subject), and silver bowls commemorating performances of his operas. Incense wafted through the air, and only the music of the maestro was allowed to waft with it. Meanwhile Cosima ministered to her companion’s histrionics and made sure no one ran off with the perfumed pet lambs, beribboned wolfhounds, and ornamental chickens that roamed the garden.Конец ознакомительного фрагмента.
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