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The Wagner Journal is a periodical that seeks to examine Wagner and his works from a variety of perspectives – musicological, historical, literary, philosophical and political – and to illuminate the unique appeal of this endlessly fascinating composer. 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 operas 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 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 both in print form and online. Individual articles are also available for downloading. The journal is published and distributed independently.

For a free introductory (electronic) copy, e-mail

Special issue: The Artwork of the Future. We are pleased to announce the publication of a new translation by Emma Warner – the first since 1895 – of Wagner's key essay Das Kunstwerk der Zukunft (The Artwork of the Future). See here for more details. This special issue of The Wagner Journal is available at £15, free on request to all subscribers present and future, so there has never been a better time to subscribe; see How to buy page.

Also now available, free to read in our Archive, is David Cormack's landmark article on William Ashton Ellis, the inexhaustible translator of Wagner's writings. We are delighted to make this book-length article – the most comprehensive yet published on the subject – available to all readers. See the Archive for this and other free content.

Götterdämmerung, Act III, in the production by Pierre Audi for De Nederlandse Opera, 1999

Editor and editorial board

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 in October 2012 by Thames & Hudson and OUP. He was also co-director of Wagner 200, a London-based celebration of the bicentenary.

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

Roger Allen (Oxford)

Peter Franklin (Oxford)

Mike Ashman (Hertford)

Tom Grey (Stanford, CA)

Tim Blanning (Cambridge)

Linda Hutcheon (Toronto)

Werner Breig (Erlangen)

Egon Voss (Munich)

John Deathridge (London)

Arnold Whittall (London)

Laurence Dreyfus (Oxford)

Simon Williams (Santa Barbara, CA)

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