It's all over. The fat lady's singing...

W is for the villa the composer built for himself in Bayreuth, where, as he had it, 'my delusions have found peace'

Brünnhilde's eight warrior sisters, whose entrance is heralded by possibly the most famous piece of classical music ever.

Wagner was in every sense self-created, but confusion over his paternity continues to raise interesting questions

An early (and subsequently revised) opera that has corking tunes and a very silly plot. Staged with tongue firmly in the cheek, it can be magnificent

The philosopher's worldview was a key influence on Wagner's mature work

Stephen Moss: Our alphabetic hits R and we come, of course, to the epic and extraordinary excesses of the four operas that comprise Wagner's Ring Cycle

Wagner met's Britain's Queen in 1855 and the two were delighted with each other, writes Stephen Moss

Stephen Moss: 'I love all Wagner,' one aficionado said to me once, 'but sometimes only Parsifal will do.'

Stephen Moss on Wagner's Lady Macbeth-esque antiheroine who ends Lohengrin 'with a shriek'

Stephen Moss: N is for the philosopher who went from being one of Wagner's staunchest supporters to one of his sternest critics.

Stephen Moss: Die Meistersinger von Nürnberg, Wagner's sunniest opera, stands outside the rest of the late-Wagnerian canon, being about real people rather than gods, knights and sorceresses

Lohengrin, the key opera in Wagner's transition from romantic composer to creator of vast music dramas, is radiant, lyrical and moving

Stephen Moss: The wild woman of Wagner's final opera, Kundry is the female equivalent of the Flying Dutchman

Stephen Moss: Even by the putrid standards of his day, Richard Wagner was a virulent antisemite

Stephen Moss explores Wagner's heroine from perhaps the most significant musical work of the 19th century

The association with Nazi anti-semitism taints Wagner's music for many. Is that fair, asks Stephen Moss?

The total integration of music and drama was Wagner's artistic credo, and it revolutionised opera, writes Stephen Moss

Wagner disliked his first opera, but it has many redeeming qualities including a delightful overture: not bad for a 20-year-old

Stephen Moss: From Eva and Elsa to Elisabeth – Wagner liked his heroines winsome, and beginning with E