LOLA MONTEZ ~ February 17, 1821 ~ January 17, 1861

Arthur Rackham image/earthstation1.com

Just after I started working for Customs, Ross and I took our previously planned holiday to Germany. He had studied in Munich, and still had several good friends in the area. We were there for Oktoberfest, which –as you undoubtedly already know— is celebrated in September. That was one of the few times in my life that I have drunk beer, and half enjoyed it. Of course, Bavarian dark beer is very different from standard American varieties.

The plan was to visit all of King Ludwig II’s castles – and we nearly did. We saw Hohenschwangau, where Ludwig had spent part of his childhood, at the base of Neuschwanstein, his paean to Ricard Wagner (as well as the model for several Disney castles) and the site of Ludwig’s arrest;

[Years ago, I used to eat Sunday brunch at Café Mozart on Bush Street between services at Grace Cathedral. The owner was a Viennese named Claus. One Christmas, he made a large gingerbread castle in the shape of a familiar landmark. “Oh Claus!” I said “ What a wonderful gingerbread model of Neuschweinstein.” “Neu- SCHWEIN- stein?!!!! Don’t you know the difference between a schwein and a schwan?!!!!” Now, I do.]

Linderhof, with it’s grotto and elevated dining table; and Herrenchiemsee with its copy of the Hall of Mirrors, and two (mind you two—though only one was actually completed) Ambassadors Staircases from Versailles, where the original had been replaced. We also saw the room where Ludwig had been born at Nymphenburg, the lake where he had drowned, and the church in Munich, where he is still buried.

In June 2008 the San Francisco Opera premiered a new production of Das Rheingold, the first installment of an an American Western Ring cycle.

Did you know that there may have been a California connection to the first production of Wagner’s Ring Trilogy. (Even though it is four music dramas, it’s considered a trilogy….with a prologue) The connection was Lola Montez, a Spanish dancer, who had had an extended affair with Ludwig II’s grandfather, Ludwig I. In reality, her name was Eliza Gilbert, and she was actually Irish. But she did have an affair with that architecturally crazed monarch. Unlike his grandson, his taste favored neo-classical revival, rather than medieval and baroque. Ross and I visited his large Bavarian maiden— on the edge of the Oktoberfest grounds— which seemed to be a forerunner of the Statue of Liberty.

Ludwig the First was so enamored of Lola Montez, that he virtually turned over the state authority to her. For nearly two years, Lola was de facto ruler of Bavaria. "What Lola wants, Lola gets" was originally in reference to her. When Revolution broke out all over Europe in 1848, the people of Bavaria's main grievance against their King, was his affair with Lola. Forced to abdicate, Ludwig left the throne to his son Maximilian II. But then Max died in 1864, leaving the throne to Ludwig I's grandson, Ludwig II.

The Wagner connection is this:

Once on the throne, nineteen year old Ludwig II responded to Wagner's published plea for help from a German prince. Richard Wagner had been exiled in Switzerland, both for his 1848 political, and recurring financial, indiscretions. Ludwig paid off Wagner's creditors, welcomed him to Bavaria, and financed productions of Die Meistersinger, Tristan und Isolde, and the completion of the Ring des Nibelungen.

So what's the Lola Montez connection? Had it not been for Lola, Ludwig I, no doubt, would have remained on the throne of Bavaria. He lived until 1868— a good twenty years after his abdication. Lola Montez, meanwhile, ended up in Grass Valley, California during the Gold Rush. She died of syphilis, which Ludwig had given her along with jewels and bad poetry. Had there been no Lola Montez, Tristan and Meistersinger might not have been produced at all, and certainly not before 1868 at the earliest. The problem, of course, is when you change one fact in history, you may very well jeopardize multiple subsequent facts. But the fact remains, Ludwig II was Wagner's principal sponsor, and had it not been for him, the general operatic public would very likely never have heard of Brunnhilde.