The article explores one aspect of Richard Strauss attitude toward Richard Wagner, which was of fundamental importance for Strauss early self-definition and his subsequent creative development. Strauss grew up in a family where negative views about Wagner’s personality and music prevailed. The initial aversion, shaped by his father’s influence, gradually gave way in the young composer’s mind to a passionate fascination with Wagner’s work and deep admiration for him. His first trip to Bayreuth for the premiere of “Parsifal” (1882) was preceded by visits to Wagner’s operas and by studying the score of “Tristan und Isolde,” which made an indelible impression on Strauss. His acquaintance with the Wagnerian Alexander Ritter, who for a time became Strauss spiritual mentor, determined the development of his creative work along the lines of the ideas of the “New German School.” The article traces Richard Strauss entry into the Bayreuth Festival circle (between 1886 and 1896 he visited Bayreuth seven times, taking part in the festival first as an assistant and later as a conductor), the formation of his reputation as a successor to Richard Wagner’s legacy, and then the gradual cooling and eventual rupture of relations with Bayreuth, caused by the independence of Strauss position. Connections with Bayreuth resumed in 1933–1934, when Strauss agreed to replace Arturo Toscanini at the festival, which led to accusations of collaboration with the National Socialists. Strauss, however, was guided by idealistic motives, wishing in this way to serve German culture and Wagner, with whom he felt an inner bond throughout his life.