Collection: Products
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David Milsom, Style and Sonority in Wagner String Performance
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David Syrus, Review of Webb, ‘Variants in Wagner’s Vocal Lines’
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Death Wishes: Barry Millington sees two productions of ‘Tristan und Isolde’ that reflected the effects of the pandemic in both dramatic and practical ways
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Death-Devoted Art: Edward A. and Paula M. Bortnichak review a multidisciplinary examination of the role of death in opera
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Deborah Calland and Barry Millington, ‘Lonely Walk’: an Unpublished Song by Alma Schindler-Mahler
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Deeds of Music Made (In)visible: Richard Moukarzel considers an account of the genesis of ‘Der Ring des Nibelungen’
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Derek Hughes, New Witnesses of Toscanini’s Bayreuth
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Derek Hughes, Wagner and the Boryspil Pogrom: A Reply to Barry Emslie
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Derek Hughes, Wagner and ‘the Jew Guggenheim’
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Derek Hughes, Wagner: Race, Nationalism and Other Distractions
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Derek Hughes, Wagner: The Pogrom and the Critics
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Derek Hughes, Wagner’s Worst Joke
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Derek Hughes, ‘There Was No Need To Spell It Out’: Early Wagner Criticism and the Question of Anti-Semitism. Part 1: ‘Der Ring des Nibelungen’
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Derek Hughes, ‘There Was No Need To Spell It Out’: Early Wagner Criticism and the Question of Anti-Semitism. Part 2: ‘Parsifal’ and ‘Die Meistersinger von Nürnberg’
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Desert Song: Sand dominates a ‘Tristan’ at the Maggio Musicale, reports Michael Fuller
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Desert-Island Trysts: Hamburg’s new ‘Tannhäuser’ leaves Matthew Rye feeling dramatically abandoned
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