Wieland Wagner (5 January 1917 – 17 October 1966) was a German opera director, grandson of Richard Wagner. As co-director of the Bayreuth Festival when it re-opened after World War II, he was noted for innovative new stagings of the operas, departing from the naturalistic scenery and lighting of the originals. His wartime involvement in the development of the V-2 rocket was kept secret for many years. Life Wieland Wagner was the elder of two sons of Siegfried and Winifred Wagner, grandson of composer Richard Wagner, and great-grandson of composer Franz Liszt through Wieland's paternal grandmother. In 1941, he married the dancer and choreographer Gertrud Reissinger. They had four children: Iris (1942–2014), Wolf Siegfried (born 1943), Nike (born 1945) and Daphne (born 1946). Their son Wolf married Marie Eleanore von Lehndorff-Steinort, sister of fashion model Veruschka, whose father was involved in the 20 July plot to assassinate Hitler. Late in his life, Wieland had a love affair with the much younger Anja Silja, one of the singers he had recruited for Bayreuth. In 1965, he was awarded the Pour le Mérite. He died of lung cancer in October 1966. Career Wieland Wagner is credited as an initiator of Regietheater through ushering in a new modern style to Wagnerian opera as a stage director and designer, substituting a symbolic for a naturalist staging and focusing on the psychology of the drama. Wieland began his directorial career before World War II, working on operas by his father and grandfather. His innovative approach did not become clear until after the war. His design for the 1937 Bayreuth production of Parsifal, for example, was conservative, though it did have film projections during the transformation scenes. When the Bayreuth Festival reopened after the war in 1951, Wieland and his brother Wolfgang became festival directors in place of their mother, whose association with Adolf Hitler had made her unacceptable. (Wieland's own past was, however, suppressed.) The revolutionary productions evoked extreme views both for and against. Wieland's long-lasting 1951 production of Parsifal included many features with which he later would be identified. Post-war austerity and his own interest – influenced by Adolphe Appia – in lighting effects led to the use of round minimalist sets lit from above. Wieland's first post-war Siegfried represented Fafner with a 30 ft statue of a dragon belching fire. In his later production of the opera he instead used pairs of giant