one must ask regarding the origins of Nazism and why it appealed to the German people. There was already strong anti Semitism in Europe, one of its leadinjg advocates was the composer Richard Wagner who had a visceral haterd of the Jews. Hitler idolised Wagner, kept hs opera house running during the war and demanded senior members of his party attend performances
the folowing has been copied from aish.com
The Wagner debate is not an easy one to resolve, least of all at a time of resurgent anti-Semitism in Europe. Already in his notorious early tract Jewry in Music (1850), Wagner had identified the Jews as “the plastic demon of the decline of mankind” – decadent symbols of the corrupt, money-making new world that the composer loathed.
In 1881, he wrote to his infatuated patron, Ludwig II of Bavaria: “I hold the Jewish race to be the born enemy of pure humanity and everything noble in it.” Wagner even suggested that he was “the last German who knows how to hold himself upright in the face of Jewry, which already rules everything.” No wonder that the young Adolf Hitler could see in Wagner a true soul-mate and remained to the end a fanatical worshipper of his boyhood idol.
What the two shared, however, was far more than simply visceral Jew-hatred. Hitler was enchanted by the ecstatic appeal of the great Wagnerian themes of heroic sacrifice and betrayal, redemption and death, the restored world of Germanic myths, of titanic passions and the twilight of the gods. Hitler, like so many Wagner addicts, felt transported by Wagner’s music into a mystical trance, plunged into a mesmeric spectacle of heroic beings like Rienzi, Tannhäuser or Siegfried who appeared to challenge the established bourgeois order; or ascetic saviors like Lohengrin and Parsifal come to redeem a corrupt and degenerate world. In Hitler’s twisted imagination, Parsifal was ultimately a drama about “blood purity” and racial regeneration: a distortion perhaps, but these ideas certainly preoccupied Wagner in his last years.
There is also a sense in which Hitler may indeed have seen himself as the political consummator of Wagner’s artistic genius and the Nazi Reich which he founded as a grandiose fulfillment of the Wagnerian Gesammtkunstwerk. Purging Germany (and Europe) of its Jews fit perfectly into this broader world-view oriented towards “racial cleansing.”