Collection: Other Back Content
This page shows all current and previous content of The Wagner Journal from its inaugural issue of March 2007.
Use filters to narrow your search by year and article type.
To find specific content, consult our index of contents or use the search facility.
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Michael Trimble, Dale C. Hesdorffer and Robert Letellier, The Mystery of Wotan’s Missing Eye
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Laurence Dreyfus, Music and the Unseen: Narrative Paradigms in ‘Parsifal’
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Where it all began – Fairies in Leipzig: Mark Berry is enchanted by both Wagner’s first opera and Oper Leipzig’s new production
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Tannhäuser as Veteran Rock Star: Michael Fuller reviews Harry Kupfer’s fifth ‘Tannhäuser’
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Scenes from Provincial Life: Matthew Rye explores some of the bicentennial offerings in Germany away from the bright lights of the biggest cities
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Taste Triumphs over Drama: Mark Berry reviews the final two instalments of the Guy Cassiers ‘Ring’
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Wagner Re-imagined in the Cotswolds: Roger Allen reviews the Longborough ‘Ring’
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Storming the Temple: Frank Castorf’s new ‘Ring’ is an assault as much on the Bayreuth audience as on oil-fuelled capitalism, reports Barry Millington
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Re-invention of Tradition, or, Effect with Cause: Mark Berry is bowled over by Stefan Herheim’s new Salzburg staging of ‘Die Meistersinger’
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Sonic Echoes: David Breckbill compares two roughly contemporaneous historic ‘Ring’ releases
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Na’ama Sheffi, Sound of Silence and Struggle: Wagner and the Israelis
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Eva Rieger, ‘Only You Could Save Bayreuth!’ The Life of Richard Wagner’s Granddaughter Friedelind
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Edward A. Bortnichak and Paula M. Bortnichak, ‘Parsifal’ as Contagion Narrative and Discourse of Mourning
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The Year of Magical Thinking: Emanuele Senici is deeply touched by Jonas Kaufmann’s Lohengrin at La Scala, but finds Italians unconvinced by attempts to stir up a bicentennial controversy
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Bridging the Sexual Divide: Barry Millington is stimulated but ultimately unmoved by François Girard’s new ‘Parsifal’ for the Met
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Notes from Behind a Biedermeier Column: The new Zurich ‘Holländer’ is assessed on the concert platform in London by Tash Siddiqui and on stage in Zurich by Laura Möckli
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