| Sumario: | This article examines the reception of Richard Wagner’s Works in Madrid between 1877 and 1893. The study is based on three parameters: concerts, writings on aesthetics and performances of opera. This period of time is divided into two stages: the first, 1877-1885, roughly corresponds to the constitutional monarchy of Alfonso XII; the second refers to the time Luigi Mancinelli spent in Madrid (1886-1893). While the first period was still a period of struggle, both in regard to premieres and music criticism, where debates about the appropriateness of the Wagnerian system for lyric drama continued, the second represented the adoption of the “symphonic” Wagner, although the majority of Spanish composers rejected this literary model, which was based on the use of prose instead of verse as well as infinite melody. From a sociological point of view, Wagnerism can be seen as principally bourgeois phenomenon.
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