As you know, everything was done, or done as close as possible to instructions from the original score.

My lips wrinkle into a wry smile when I hear of a theory assignment to analyze Wagner, like the Prelude to Tristan und Isolde. You have harmony with outer voices that contract chromatically, and the motif augments chromatically. At least four ways to analyze exists with valid argument for each. You have vertical harmony, and linear harmony spanning beats to measures; vertical with one sequence of anaylsis, and linear with several simultaneous where you have to look ahead to what you think is a cadence point, except there are almost always more than one.

He apparently wrote few to no sketches, and the orchestrations are first and only drafts. Several new brass instruments were made to satisfy the demand in his head. He knew exactly what sound he wanted.

What's the shelf life for a singer singing roles of Brunnhilde, or Siegfried? I imagine they mark a lot outside of performance.