In few artists, time has the importance that reaches in Wagner. Not only is it decisive in the composer or the theorist of interpretation, but also in the dramatist, who takes advantage of music to destabilize the drama, provoking the continuous presence of the past and the anticipation of the future. With the exception of Meistersinger ?? and not quite ??, both in the romantic opera and in the musical drama, time is, as Hamlet said, "deconstructed ??. Sometimes, he retreats and the past returns, as for Amfortas (first, as torment, later, as a priest). At other times the action follows patterns incompatible with the time of the clock, as in the third act of Tannhäuser. His pulse changes abruptly, disturbed by the theft of Alberich, or torn apart, like the rope of destiny in Brünnhilde's rock. Between history and myth, he analyzes the way in which Wagner constructs time from different angles. First, through the ten essential works, stopping especially in Tristan and Parsifal, also considering certain staging, such as those of Tristan and Isolde carried out by Heiner Müller and the tandem Marthaler-Viebrock. Secondly, essential concepts are addressed, such as space, drama, tradition, festival, redemption, romanticism, narration, symbol, femininity, plurality of times. It also deals with the composer's relationship with more or less contemporary aesthetic authors and currents - Schopenhauer, Nietzsche, Hegel or the Romantics ??, his way of updating tradition, both Western? Greek tragedy, the Arthurian world, the mysteries Medieval, religious ceremonies ??, such as Oriental ?? the Upaniïad and Buddhism?, not forgetting later authors ?? Adorno, Thomas Mann or Eliot of The Waste Land ?, even some who seem very far from the Saxon Like Heidegger, Benjamin or Umberto Eco ??, to explain his dazzling transformation of time.