Bayreuth Festival derided for his 1956 production of "Die Meistersinger von Nürnberg." Stripped of its pageantry, conservatives viewed the breaking of this "sacred German tradition" as an outrage. Wieland defended the changes as an attempt to create an "invisible stage" that would allow the audience to experience the full psychosocial aspects of the drama without the baggage and distraction of elaborate set designs. Others have speculated that by stripping Wagner's works of their Germanic and historic elements, Wieland was attempting to distance Bayreuth from its nationalistic past and create productions with universal appeal. Over time, many critics came to appreciate the unique
Bayreuth Festival banned her from administration of the Bayreuth Festival and its assets, which fell eventually to her two sons, Wolfgang and Wieland. During American occupation of the region after World War II, the theatre was used for army recreation and religious services for American soldiers. Only popular concerts and mixed entertainment were allowed: comedy, dancing, acrobatics, and then only "Die Fledermaus" was staged. When the Festival House was handed over to the city of Bayreuth in 1946, it was used for concerts of the Bayreuth Symphony Orchestra and the performances of such operas as "Fidelio", "Tiefland", "Madama Butterfly" and "La traviata".