About The Wagner Journal

 

‘Whilst I have been inside peering out, you have been keenly looking in – observing, investigating, analysing – for the past seventeen years, with great perception and insight. Congratulations and thanks.’

Sir John Tomlinson

  

‘A mine of information for all lovers of Wagner’s music – covering scholarship and performance.’

Sir Antonio Pappano

  

Established in 2007, The Wagner Journal is the world’s leading peer-reviewed periodical devoted exclusively to Wagner studies. Combining top-quality writing and high production values, the journal is required reading for anyone concerned with the Wagner phenomenon historically or in performance today.

The journal aims to bring the questions surrounding the theory and practice of staging and performing Wagner to a wider audience, in that way furthering our understanding of his music dramas as theatre.

In addition to feature articles, reviews of live performances, books, CDs and DVDs, The Wagner Journal periodically offers new translations of Wagner’s prose works, many of which are otherwise available only in William Ashton Ellis’s notoriously idiosyncratic renderings.

The Wagner Journal appears three times a year (March, July and November) and is published in both print and digital form (PDF). Individual features and reviews are also available for downloading in digital form here. The journal is published and distributed independently.

Meet the Team  

The editor, Barry Millington, is the author / editor of eight books on Wagner, the latest of which, Richard Wagner: The Sorcerer of Bayreuth, was published by Thames Hudson and Oxford University Press. He also contributed the articles on Wagner and his operas to The New Grove Dictionary of Music and Musicians and The New Grove Dictionary Of Opera. Read more about Barry here.

The associate editor, Tash Siddiqui, is a freelance writer, editor and tutor. Her D.Phil thesis was entitled ‘“Jews against Wagner”: The 1929 Krolloper production of Wagner’s Der fliegende Holländer’. Recent publications include ‘Specters of Nazism’ in the Cambridge Companion to Wagner's ‘Der Ring des Nibelungen’. Read more about Tash here.

The reviews editor, Richard Laing, is a conductor and violinist with a brother named Tristan and a daughter named Elsa. His introduction to Wagner was from his father, Dr Alan Laing, whose Ph.D thesis was entitled ‘Tonality in Der Ring des Nibelungen’. Richard is a Fellow of the Royal Society of Arts and a Fellow of the Royal Astronomical Society. His invitation to conduct Parsifal at Bayreuth seems to have got lost in the post. Find out more about Richard here.

Editorial Board

The editorial board consists of a dozen of the most distinguished Wagner scholars from the international community, embracing a wide range of disciplines: