The essay called Jews "freaks of nature":
Wagner held that Jews were unable to speak European languages:
He claimed that Jewish speech took the character of an "intolerably jumbled blabber", a "ceaking, squeaking, buzzing snuffle", and that Jews were egoistically devoted to profit and incapable of expressing passion when speaking to non-Jews. From this he concluded that Jews would be even less capable of expressing themselves in music, and only those artists who stripped off their Jewish roots could at all express themselves:
He claimed that the music produced by Jewish composers such as Mendelssohn was "sweet and tinkling without depth". In his major theoretical statement, Oper und Drama (1852), he made the same protest against Meyerbeer. When the article "Judaism in Music" was published it drew forth numerous replies, among which may be mentioned: Joseph Engel, "Richard Wagner, Judaism in Music, a Defense" ("Richard Wagner, das Judentum in Musik, ein Abwehr"); E. M. Oettinger, "An Open Love-Letter to Richard Wagner" ("Offenes Billetdoux an Richard Wagner", Dresden, 1869); and A. Truhart, "Open Letter to Richard Wagner" ("Offener Brief an Richard Wagner" St. Petersburg, 1869).
Wagner's "Judaism in Music" states that (page references are to William Ashton Ellis' English translation of Richard Wagner's Prose Works, which follows the 1869 revision):
During this time nationalism was a trend that was sweeping the classical music world. In a number of nations, Germany among them, some composers were trying to get down to their musical roots in folk-music, and cast out all foreign music. At the time, many Germans considered Jews to be a "foreign" influence. In this regard Wagner's views were not unique. Notwithstanding his public utterances against Jewish influence in music, Wagner had some Jewish friends; his favorite choirmaster in later life was Herman Levi.
The combination of anti-Semitism in Wagner's writings and German themes in his music appealed to Adolf Hitler, who glorified Wagner's music, stating that "there is only one legitimate predecessor to national socialism: Wagner". Wagner's music was frequently played during Nazi rallies. Wagner's daughter-in-law, Winifred Wagner, was a close friend of Adolf Hitler's and ran the Bayreuth Festival[?] of Wagner's music from the death of her husband, Siegfried[?], in 1930 until the end of World War II, when she was ousted.
Because of these factors, performances of Wagner's works in the modern state of Israel did not occur during the twentieth century, as per communal consensus. However, in recent years many Israelies have argued that it may be possible to appreciate his musical talents, without implying acceptance of his beliefs. As such there was a public performance in 2001 of a work by Wagner by conductor Daniel Barenboim, which the audience was receptive to.