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The March 2016 issue (vol.10, no.1), now available, contains the following feature articles:

'Wagner: the Pogrom and the Critics' by Derek Hughes

• 'Edward Burne-Jones, George Eliot and Richard Wagner: A Collision of Like-minded Souls' by Barry Millington

'Doing the Diva Dying: Performative Studies of Death in Tristan und Isolde' by Nila Parly

 

plus reviews of:

Calixto Bieito's Tannhäuser in Antwerp, Johan Simons' Rheingold at the Ruhr Triennale and a concert performance of Das Liebesverbot by Chelsea Opera Group in London

DVDs of the Frankfurt Ring, Tannhäuser in Berlin (Sasha Waltz/Daniel Barenboim) and at Bayreuth (Sebastian Baumgarten/Axel Kober)

CDs of Das Rheingold conducted by Simon Rattle (BR Klassik) and Jaap van Zweden (Naxos), and of Wagner performances from 1963–4 under Monteux, Solti and Barbirolli (Testament)

William Kinderman's Wagner's 'Parsifal', Arnold Whittall's The Wagner Style, Wagner in Russia, Poland and the Czech Lands, ed. Stephen Muir and Anastasia Belina-Johnson, and Joachim Köhler's The Laughing Wagner: His Wit, Puns, Pranks and & Dare-Devil Stunts (tr. Tom Artin)

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Pogrom in 19th-century Russia, final tableau of Ad majorem triptych by Arthur Szyk (1923)

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Edward Burne-Jones, Laus Veneris, completed 1878, the year after the Wagners' visit to London

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The mouth and lips play a crucial part in Waltraud Meier's performance of Isolde's Liebestod, argues Nila Parly

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An irreverent view of Wagner
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