The November 2022 issue of The Wagner Journal has been published

The Wagner Journal

The November 2022 issue (vol.16, no.3) of The Wagner Journal has been published and contains the following feature articles:

Stephen Johnson on ‘What Sibelius Learned from Wagner’
Derek Hughes on German Wagner criticism from the premiere of Die Meistersinger to the end of the Second World War
Eric Doughney brings insights from the disciplines of psychology and social philosophy to bear on the case of Winifred Wagner
Extract from Parsifal’s Seduction, a novel by Laurence Dreyfus

The issue also contains reviews of: the Ring and the Holländer in Bayreuth, Tannhäuser in Hamburg, Die Meistersinger in Berlin, Tristan und Isolde in Santa Fe, Siegfried at Longborough, Die Walküre in Coburg, Parsifal in Koblenz and London, plus Die Feen, Das Liebesverbot and Rienzi in Leipzig; Axel Brüggemann's film Global Wagner and Sven Fritz’s new biography of Houston Stewart Chamberlain.

Of special interest

Keeping it in the Family: Barry Millington is gripped by the dynastic saga of the new Bayreuth ‘Ring

All the World’s a Stage: Patrick Carnegy welcomes a film that explores the composer’s present-day global reach

Subscribe here: www.thewagnerjournal.co.uk

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One of the finest monuments in sound ever to have been raised to the everlasting glory of music. (Claude Debussy on Parsifal)

"The thing about Wagner is that there can be no true success in any production of his operas, only degrees of failure. There is so much in these bloody pieces, all you can do is try to live up to them." (Keith Warner, The Guardian)

"I have never come across an audience with so much hatred, so much anger, such a thirst for revenge. They take everything personally. It makes you a little bit scared, and it's really quite terrifying." (Lance Ryan on the audiences at Bayreuth)

"People sometimes complain that Wagner operas are too long, that they get stiff and sore about 10.30 because they have rushed in to hear one of his works straight from work and are not properly prepared for listening to his music. The audience, as much as the artists, must be prepared for a performance."
(Benjamin Britten to Alan Blyth, Gramophone)

"I was bowled over. It was the year after Wieland Wagner had died; to be able to see his productions was a total knock-out. These bare stagings, where everything was done with lighting. The light changed with the music, and the shadows and patterns seemed as archetypal as the music itself. Nobody had done that on the stage before. I thought it was extraordinary and wonderful."
(Patrick Carnegy to The Guardian)

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