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The March 2018 issue (vol.12, no.1) contains the following feature articles:

‘Kindred Spirits of Meiningen and Bayreuth‘ by Edward A. Bortnichak and Paula M. Bortnichak

‘Turning the Telescope Round‘ [article about Ernest Newman] by David Cormack

‘Wagner and the Boryspil Pogrom: A Reply to Barry Emslie‘ by Derek Hughes

•‘ “Music Made Visible“: Sergei Eisenstein's Die Walküre and the Birth of Vertical Montage‘ by Hilan Warshaw

‘Deluded Neurotic or Visionary Woman of the Future?: Senta Revalued‘ by Kate Hopkins

plus reviews of:

Achim Freyer‘s Parsifal in Hamburg and Tobias Kratzer‘s Götterdämmerung in Karlsruhe

DVD of Christian Thielemann‘s homage to Herbert von Karajan's 1967 Salzburg Ring

CDs of the Naxos Siegfried under Jaap van Zweden, Mark Elder‘s Parsifal with the Hallé, and Wagner concert overtures under Jun Märkl


The scene of Mark Antony‘s oration in Julius Caesar from the Meiningen production of 1874, exemplifying the Duke of Meiningen‘s dynamic handling of crowds


Still from Sergei Eisenstein‘s Battleship Potemkin

Ernest Newman in 1951, listeningKlingsor (Vladimir Baykov) hides his
Senta is startled by the
John Tomlinson, an ‘authoritative‘ Gurnemanz,
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