The feature articles delve into diverse facets of Wagner's oeuvre. Diane Finiello Zervas explores a fascinating intersection in ‘The Prophet Of Love’: C.G. Jung, Richard Wagner and Parsifal. Her article "unravels the rich skein of experiences, dreams and fantasies by means of which [Jung] engaged with Wagnerian myths and symbols," drawing on recently discovered writings of Jung around World War I and new information about his 1920 English seminar. Zervas highlights how Jung's concepts of the unconscious, the union of opposites, and the enduring power of myth align with Wagner's artistic vision, particularly in Parsifal.
Christopher Wintle contributes an analysis of Splitting (Spaltung) in Wagner. Wintle's essay examines how "Each of Richard Wagner's canonic operas and music dramas is predicated on a radical split – Spaltung – with turbulent consequences and an act of reparation at the denouement." He explores this concept from both individual psychology and object relations perspectives, arguing that "Splitting is the source of Wagner's musico-dramatic contrasts, and the closing reparation invariably involves exceptional stagecraft."
For those seeking a panoramic view of the current academic landscape, Arnold Whittall provides an essential overview of Directions in Wagner Analysis since 2013. This essay is an updated transformation of two previous articles, offering "further thoughts" on analytical understanding and the evolution of critical thought since Wagner's 2013 bicentenary. Whittall discusses various analytical approaches, including Dmitri Tymoczko's concept of "fracturing" in the Lohengrin Prelude and the challenges of staging Wagner's works while maintaining fidelity to their musical and dramatic intentions.
Beyond these illuminating essays, the issue also features a comprehensive array of reviews, providing critical perspectives on recent operatic productions and significant publications. Readers will find assessments of:
Covent Garden’s Die Walküre, a production by Barrie Kosky noted for its "post-apocalyptic 'Ring'" concept, where everything is "ravaged by fire," creating contemporary relevance despite some portrayals at odds with the backstory. Richard Laing praises Christopher Maltman's Wotan and Natalya Romaniw's Sieglinde, alongside Antonio Pappano's orchestral direction.
Holländer from both Opera North and Irish National Opera. Richard Moukarzel reviews Opera North's production, which integrates a social mission by welcoming refugees and staging the opera within a "Home Office" setting, though he notes some inconsistencies in the metaphor and scenic design. David Evans reviews Irish National Opera's staging in Dublin, which, while featuring strong vocal performances from James Creswell as Daland and Jordan Shanahan as the Dutchman, leaned heavily on Senta's internal fantasies and lost some mystery in its first act.
Götterdämmerung from La Monnaie and Regents Opera. Richard Laing reports on Pierre Audi's "blank canvas" production at La Monnaie, which explored character relationships and the long-lasting damage of parental figures, highlighted by strong debuts from Bryan Register (Siegfried) and Ingela Brimberg (Brünnhilde), and an "extraordinary Hagen" by Ain Anger. Laing also reviews Regents Opera's production in London's York Hall, a boxing venue, which brought the audience close to the action and featured a "radically reduced orchestra," focusing on the relationship between performer and audience, with Catharine Woodward's Brünnhilde being particularly lauded.
Melbourne Opera’s Meistersinger. David Ames reviews this production staged in the Royal Exhibition Building, praising Suzanne Chaundy's "cheerful production" and Anthony Negus's warm orchestral tone. Warwick Fyfe's Hans Sachs and James Egglestone's Walther were noted triumphs among an all-Australian cast.
Parsifal productions staged at the Temple Church and the Berlin Staatsoper. Richard Laing reports on a concert performance of the Prelude and Act III at London's Temple Church, a historically resonant venue, praising Matthew King's arrangement for a smaller orchestra and strong performances by Natasha Jouhl (Kundry) and Simon Wilding (Gurnemanz). Hugo Shirley reviews Dmitri Tcherniakov's Parsifal revival at the Berlin Staatsoper, noting its continued dramatic power and stellar musical direction by Philippe Jordan, though questioning its disconnect between acts and the absence of a clear spiritual message.
Furthermore, the journal includes reviews of Laurens de Man’s Richard Wagner: An Organic Journey and The Thomas Jensen Legacy, broadening our understanding of both recent scholarship and historical performance. Dexter Drown reviews De Man's organ transcriptions, highlighting "satisfying prominence for the Derision motif in the final march" of the Meistersinger Prelude. He also considers the Thomas Jensen Legacy Vol. 23, praising Lauritz Melchior's "terrifically paced live performance" as Siegmund, despite his age, and the excellent orchestral playing.
A New Digital Gateway to Wagnerian Riches
In significant news for the Wagnerian community, The Wagner Journal has launched its new website, a substantial digital resource accessible at www.thewagnerjournal.co.uk. This revamped platform represents more than a mere update.
Established in 2007, The Wagner Journal quickly became, and remains, a preeminent periodical exclusively dedicated to Wagner studies. Under the editorship of Barry Millington, its enduring mission has been to combine top-quality writing with high production values, making the complex theoretical and practical questions surrounding the staging and performance of Wagner's music dramas accessible to a wider audience.
The new site now provides seamless access to the journal’s entire back-catalogue, transforming a wealth of past scholarship into a readily available digital archive. Crucially, a substantial amount of free content is also on offer, underscoring the journal’s commitment to wider dissemination of Wagnerian knowledge. This initiative is a testament to their dedication to fostering a deeper appreciation and understanding of Wagner's enduring legacy.
We encourage readers to explore the latest issue of The Wagner Journal and to immerse themselves in the resources offered by their new website. It is an indispensable tool for any serious Wagner enthusiast.
