A Contributor Writes on a Wagner Quest.

Please excuse this unsolicited indiscretion. I have a question regarding an orchestral version of Tristan und Isolde. Long ago in my youth I was captivated by a particular interpretation of Wagner’s simply magnificent consummation of Isolde’s Liebsdot which contained after the unforgettable majestic crescendos and the serene withdrawal into recurring theme,eternal peace and an ever diminishing memorable requiem for universal life…that is captured in the rhythmic receding echo by a singular instrument…I believe an english horn rising out of the mists to reveal the way home to paradise.
If there is anyone there who can decipher this inane ramble and totally misplaced and perhaps misguided request in searching for this exquisite interpretation that still speaks from my memory…You would satisfy a lifelong journey to discover again this incomparable excellence.
Until that time, James Anderson
Campbell River, Canada

Parsifal and Wagner’s Theology

After just an unconscionably long time, I have finally got to page 319 of Richard H. Bell’s fine study, Wagner’s Parsifal: An Appreciation in the Light of His Theological Journey.  I am very grateful to Mr. Bell for his discipline and erudition, and for shedding light on both the splendid final work of this master […]

Meistersinger at the Met

In December I had the chance to attend two performances and a dress rehearsal of the Metropolitan Opera’s production of Die Meistersinger, and felt (as I so often do) mystified to be blessed so plentifully.  The last time I had attended Meistersinger was March 2007, when I saw this production.  I had watched some DVD […]

Simon Williams on Regietheater

The current issue of the Wagner Journal features a perceptive article by one of my heros, Simon Williams, titled Timely Timeless: Regietheater at Bayreuth in the 1970s.  Prof. Williams, who teaches at the University of California at Santa Barbara (nice gig!), is the author of one of my “desert island” books, Richard Wagner and the […]