Collection: Other Back Content
This page shows all current and previous content of The Wagner Journal from its inaugural issue of March 2007.
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A Wanderer Comes of Age: Niall Hoskin reviews the third instalment of Jaap van Zweden’s Hong Kong ‘Ring’
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Elder Statesmen: The Hallé’s sonorous ‘Parsifal’ is distinguished by John Tomlinson’s performance of Gurnemanz, finds Niall Hoskin
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Making Overtures: John Warner welcomes the recording premiere of Wagner’s Concert Overture in D minor but is disappointed by the lack of a larger vision
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Karajan Recidivus: Arnold Whittall assesses Christian Thielemann’s homage to Herbert von Karajan’s Salzburg ‘Walküre’
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Anna Stoll Knecht, Mahler’s ‘Parsifal’
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Barry Emslie, The ‘Volk’ That Wagner Loved to Hate: A Reply to Derek Hughes
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Wendy Ligon Smith, Mariano Fortuny and His Wagnerian Designs
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Trials and Tribulations: Barry Millington hails this year’s Bayreuth offerings
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Breaking Free: Matthew Rye reviews two instalments in ongoing ‘Ring’ cycles that explore different aspects of freedom and entrapment
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Time’s Arrow or The Nature of the Offence: Michael Fuller is stimulated by Castellucci’s meditations on time and sin in his new ‘Tannhäuser’ for Munich
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The Dutchman Sighted Again in New York on Cue: Paula M. and Edward A. Bortnichak are thrilled by the marriage of the Met’s new music director and an evergreen revival
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Shades of Grey: Michael Fuller has reservations about a reinterpretation of the ‘Holländer’ as Erik’s dream
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Eloquent Elders: Arnold Whittall muses on the history of Wagner recordings with Knappertsbusch’s ‘Meistersinger’ and Elder’s ‘Lohengrin’
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Two Tenors and Two Symphonies, Slightly Mottled: Niall Hoskin rounds up recent Wagner releases on CD
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Taking an Early Lied: Malcolm Miller is not convinced by an attempt to resuscitate some of Wagner’s early thoughts on his songs, but is won over by a mixed collection of piano works
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Behind the Scenes at the Opera: Matthew Rye finds a documentary on the creation of the Mannheim ‘Ring’ by iconoclastic artist/director Achim Freyer as frustrating as it is perceptive
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