{"product_id":"transfigured-night-barry-millington-is-swept-away-by-a-revived-tristan-at-longborough","title":"Transfigured Night: Barry Millington is swept away by a revived ‘Tristan’ at Longborough","description":"\u003cp\u003eReview of \u003cem\u003eTristan und Isolde\u003c\/em\u003e, directed Jakobi, conducted Negus, Longborough, 2026. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ca href=\"https:\/\/thewagnerjournal.co.uk\/products\/the-wagner-journal-november-2026-volume-20-number-3?utm_source=copyToPasteBoard\u0026amp;utm_medium=product-links\u0026amp;utm_content=web\"\u003eNovember 2026, Volume 20, Number 3\u003c\/a\u003e, 71–3.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIt’s a cliché of Wagner criticism that the action of \u003cem\u003eTristan und Isolde\u003c\/em\u003e is vestigial, to the point that the primary interest lies in the music: any staging is therefore at best otiose, at worst a distraction. Wagner’s phrase ‘deeds of music made visible’ (ersichtlich gewordene Thaten der Musik) is invariably invoked to support this contention. It’s a point of view, but it wasn’t one held by Wagner. A glance at the context in which the phrase occurs (in the 1872 essay ‘On the Term “Music Drama”’), makes it clear that Wagner is being ironic and actually means the precise opposite: it is the making visible that is important to him, not the ‘deeds of music’ \u003cem\u003eper se\u003c\/em\u003e.\u003c\/p\u003e","brand":"The Wagner Journal","offers":[{"title":"Individual","offer_id":56261096440150,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true},{"title":"Institution","offer_id":56261096472918,"sku":null,"price":4.0,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/thewagnerjournal.co.uk\/products\/transfigured-night-barry-millington-is-swept-away-by-a-revived-tristan-at-longborough","provider":"The Wagner Journal","version":"1.0","type":"link"}