© Bayreuther Festspiele, Meistersinger 2018

News from the Members

The latest edition of the Wagner Journal is now available
Kundry sinks lifeless to the ground as Parsifal waves the grail in blessing over the kneeling knights. Lithograph after oil original by Ferdinand Leeke (1859–1923)
Paul Joukowsky's 1882 drawing for the conclusion of Parsifal, suggesting the grail community as ’a kind of synthesised whole’.
Dom Pedro II of Brazil, the year before he visited the opening of the Bayreuth Festival in 1876 
Leo Dixon (Tadzio) and Mark Padmore (Aschenbach) in the Royal Opera Death in Venice (2019). Aschenbach’s nightmare ends with the victory of Dionysus over Apollo. Photo Catherine Ashmore

• ‘Reciprocal Redemption: Parsifal, Kundry and Shared Compassion as Wagner’s Allegorical Vision for Germany‘ by Vanessa K. Iacocca

• ‘ ‘‘A Mass can never interest, but only dumbfound us‘‘: Chorus and ‘‘Chorality‘‘ in Wagner’s Late Music Dramas‘ by John Pierce O’Reilly

• ’Observations on Today’s German Opera Scene’ by Richard Wagner, translated by Niall Hoskin

• ’How Tristan and Isolde Almost Went Down to Rio’ by Peter Bassett

• Table of Contents for The Wagner Journal, March 2007 to March 2021

plus reviews of:
streamed performances of Tristan from Weinviertel,
the Ring from Paris,
Lohengrin from Berlin and
the Wesendonck Lieder from Glasgow;
a DVD of Lohengrin from Stuttgart;
Nicholas Logie’s Nine Articles on Conducting by Richard Wagner (trans. and commentary),
Chris Walton's Richard Wagner’s Essays on Conducting (trans. and commentary),
Barry Emslie’s Pathways to Redemption: the Life and Work of Richard Wagner and Benjamin Britten