Progress on "Parsifal" was hampered by Wagner's recurrent ill-health, but by late 1880 he announced the next festival for 1882, to be devoted entirely to the new work. Wagner secured Ludwig's agreement that "Parsifal" should be staged exclusively at Bayreuth, but in return, Ludwig required that his current Munich Kapellmeister, Hermann Levi, should conduct the festival. Wagner objected on the grounds of Levi's Jewish faith; "Parsifal", he maintained, was a "Christian" opera. Both he and Cosima were vehement anti-Semites; Hilmes conjectures that Cosima inherited this in her youth, from her father, from Carolyne zu Sayn-Wittgenstein, probably from Madame Patersi and, a little later, from Bülow, "an anti-Semite of the first order". Thus Cosima's anti-Semitism predates her association with Wagner, although Marek observes that he nurtured it in her, to the extent that derogatory references to Jews occur, on average, on every fourth page of her 5,000-page journal. The musicologist Eric Werner argues that Wagner's anti-Semitism derived in part from his initial revolutionary philosophy; as a disciple of Proudhon he saw Jewry as "the embodiment of possession, of monopoly capitalism". Cosima's had no such basis, and whereas Wagner retained an ability to revise his views on the basis of his experiences, Cosima's anti-Semitism was visceral and remained unchanged. Cosima records Levi's astonishment on being informed of his appointment. Ludwig was insistent that, despite Wagner's objections, the appointment would stand. Levi would subsequently establish himself as the supreme conductor of the work, held by critical opinion to be "beyond praise".