Janice BAIRD Soprano

Total Page:16

File Type:pdf, Size:1020Kb

Janice BAIRD Soprano Janice BAIRD Soprano Janice Baird was born in New York, her parents were both professional singers. She studied transverse flute and singing as well as acting at the HB Actors Studio in Manhattan and started her career as mezzo soprano in the US and in Europe. Then she began to sing as soprano, participated in master classes with Birgit Nilsson and studied with Astrid Varnay. First contracts brought her to Kiel , Trier , Dortmund , Hannover , Augsburg singing roles like Salome, Brünnhilde, Abigail, Senta, Leonore in “Fidelio” then she made her debuts in major houses like Staatsoper Berlin , Staatsoper Vienna , Genoa , Tokyo as Salome, Deutsche Oper Berlin , Leipzig with “Fidelio”, Buenos Aires as Isolde, Zurich , Rome , Sevilla as Elektra, Strasbourg with Turandot and Geneva and Düsseldorf as Brünnhilde. Ms. Baird established herself as one of the most requested dramatic sopranos, she sang Brünnhilde in “Walküre”, “Siegfried” and “Götterdämmerung” in Berlin , Catania , Geneva, Düsseldorf , Göteborg , Copenhagen , Marseille , Seattle , Stockholm , Sevilla, Stuttgart , Venice , Toulouse and Zurich , and Elektra in Berlin , Bilbao , Catania , Dresden , Essen , Mannheim , Nantes , Palermo , Rome , Festival Salzburg , Sevilla, Stockholm , Strasbourg , Toulouse and Zurich . Ms. Baird sang Salome in different productions at Staatsoper Berlin , Florence , Genoa, Leipzig , Palermo Tokyo and Staatsoper Vienna and Isolde in Buenos Aires , Düsseldorf , Hamburg , Met , Rome , Toulouse and Zurich . Other roles of her repertoire include Ortrud, which she interpreted in Bilbao and Dresden , Färberin in “Frau ohne Schatten” in Toulouse and Zurich , Turandot in Athens , Rome , Berlin , Sevilla and Strasbourg , she was heard as Minnie in Rome and Sevilla, as Marie in “Wozzeck” in Rome and as Lady Macbeth in Berlin and Mexico . She was heard as Elektra in Seattle , in “Walküre” in Zurich , as Elektra in Berlin , and in “Walküre”, “Siegfried” and ”Götterdämmerung” in Seattle . More recently she sang Färberin in “Frau ohne Schatten” and Isolde in Zurich , Elektra in Catania , Turandot in Sevilla , Elektra in Stockholm “Siegfried” and Turandot in Berlin , Elektra in Leipzig , Isolde in Düsseldorf , Elektra at Festspielhaus Salzburg , Salome in Florence and Elektra in Vienna . Last contracts until 2021 include Sao Paulo for “Walküre”, Toulon as Ortrud, Deutsche Oper Berlin for “Siegfried” and “Götterdämmerung” Brünnhilde, Montpellier as Elektra, Mexico as Färberin in “Frau ohne Schatten”, Nuremberg as Isolde and Montevideo as Turandot, Senta in Prague , Elektra in Augsburg , "Walküre" in Pamplona and San Sebastian. Furthermore, she sang Senta in Brno , Venus in Prague , Turandot in Shanghai , Fidelio in Cottbus and Elektra in Kattowitz and was heard in Buenos Aires in "Elektra" and in Rouen in "Lohengrin". She sang her first Herodias in the "Salome" production in Catania . .
Recommended publications
  • Spring 2008-Final
    Wagneriana Endloser Grimm! Ewiger Gram! Spring 2008 Der Traurigste bin ich von Allen! Volume 5, Number 2 —Die Walküre From the Editor ven though the much-awaited concert of the Wagner/Liszt piano transcriptions was canceled due to un- avoidable circumstances (the musicians were unable to obtain a visa), the winter and early spring months E brought several stimulating events. On January 19, Vice President Erika Reitshamer gave an audiovisual presentation on Wagner’s early opera Das Liebesverbot. This well-attended event was augmented by photocopies of extended excerpts from the libretto, with frequently amusing commentary by the presenter on Wagner’s influences and foreshadowings of his future operas. February 23 brought the excellent talk by Professor Hans Rudolf Vaget of Smith College. Professor Vaget spoke about Wagner’s English biographer Ernest Newman, whose seminal four-volume book The Life of Richard Wagner has never been surpassed in its thoroughness. In the early part of the twentieth century, the music critic Newman served as a counterbalance to his fellow countryman Houston Stewart Chamberlain, Wagner’s son-in-law and an ardent Nazi. The talk also included aspects of Thomas Mann’s fictional writings on Wagner, as well as the philoso- pher and musician Theodor Adorno and Wagner’s other son-in-law Franz Beidler. On April 19 we learned the extent of Buddhism’s influence on Wagner’s operas thanks to a lecture and book signing by Paul Schofield, author of The Redeemer Reborn: Parsifal as the Fifth Opera of Wagner’s Ring. The audience members were so interested in what Mr.
    [Show full text]
  • A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
    University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me.
    [Show full text]
  • Wagner March 06.Indd
    Wagner Society in NSW Inc. Newsletter No. 103, March 2006 IN NEW SOUTH WALES INC. President’s Report In Memoriam While on the subject of recordings, we are still waiting for the first opera of the promised set from the Neidhardt Birgit Nilsson, the Wagner Soprano Legend, Ring in Adelaide in 2004, and regretting that last year’s Dies at 87 and Tenor James King at 80 triumphal Tristan in Brisbane with Lisa Gasteen and John Birgit Nilsson, the Swedish soprano, died on 25 December Treleaven went unrecorded. 2005 at the age of 87 in Vastra Karup, the village where Functions she was born. Max Grubb has specially written for the Newsletter an extensive appraisal and appreciation of the On 19 February, we held our first function of 2006, at which voice, career and character of Nilsson (page 10). Nilsson’s Professor Kim Walker, Dean of the Sydney Conservatorium regular co-singer, Tenor James King has also died at eighty: of Music, spoke about the role of the Conservatorium, Florida, 20 November 2005 (see report page 14). the work of the Opera Studies Unit in particular, and the need to find private funding to replace government grants A LETTER TO MEMBERS which have been severely cut. Sharolyn Kimmorley then Dear Members conducted a voice coaching class with Catherine Bouchier, a voice student at the Con. From feedback received at and Welcome to this, our first Newsletter for 2006, in which since the function, members attending found this “master we mourn the passing of arguably the greatest Wagnerian class” a fascinating and rewarding window onto the work soprano of the second half of the 20th century, Birgit of the Conservatorium, and I’d like on your behalf to once Nilsson.
    [Show full text]
  • 110308-10 Bk Lohengrineu 13/01/2005 03:29Pm Page 12
    110308-10 bk LohengrinEU 13/01/2005 03:29pm Page 12 her in his arms, reproaching her for bringing their @ Ortrud comes forward, declaring the swan to be happiness to an end. She begs him to stay, to witness her Elsa’s brother, the heir to Brabant, whom she had repentance, but he is adamant. The men urge him to bewitched with the help of her own pagan gods. WAGNER stay, to lead them into battle, but in vain. He promises, Lohengrin kneels in prayer, and when the white dove of however, that Germany will be victorious, never to be the Holy Grail appears, he unties the swan. As it sinks defeated by the hordes from the East. Shouts announce down, Gottfried emerges. Ortrud sinks down, with a the appearance of the swan. cry, while Gottfried bows to the king and greets Elsa. Lohengrin Lohengrin leaps quickly into the boat, which is drawn ! Lohengrin greets the swan. Sorrowfully he turns away by the white dove. Elsa sees him, as he makes his towards it, telling Elsa that her brother is still alive, and sad departure. She faints into her brother’s arms, as the G WIN would have returned to her a year later. He leaves his knight disappears, sailing away into the distance. AN DG horn, sword, and ring for Gottfried, kisses Elsa, and G A F SS moves towards the boat. L E Keith Anderson O N W Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of specialist labels, including Pearl, Biddulph, Romophone and Music & Arts.
    [Show full text]
  • Xxxxxxxxxxxxrepertoirexxxxxxxx
    xxxxxxxxxxxxRepertoirexxxxxxxxxxxxxxxx Deutsch * Premieren | ♥ Salzburg Regie Solisten (Auszug) Dirigenten (Auszug) Mozart Die Zauberflöte ♥ Jens-Daniel Herzog Mandy Fredrich | Georg Zeppenfeld Nikolaus Harnoncourt Mozart Die Zauberflöte * Jette Steckel Christina Gansch | Dovlet Nurgeldiyev Jean-Christoph Spinosi Mozart Die Zauberflöte Christoph Loy Anett Fritsch | Jussi Myllys Wolfram Koloseus Mozart Die Zauberflöte Peter Konwitschny Lenneke Ruiten | Attila Jun Roland Kluttig Beethoven Fidelio * Amélie Niermeyer Netta Or | Steven Harrison Andreas Stoehr Schubert Fierrabras ♥ Peter Stein Julia Kleiter | Dorothea Röschmann | Benjamin Bernheim Ingo Metzmacher Wagner Der fliegende Holländer Calixto Beito Elisabeth Strid | John Lundgren David Afkham Wagner Der fliegende Holländer Marco Arturo Marelli Ricarda Merbeth | Andreas Schager Johannes Fritzsch Wagner Der fliegende Holländer Adolf Dresen Anja Kampe |Tomasz Konieczny Georg Fritzsch Wagner Tannhäuser Hans Hollmann Carol Wilson | Alfons Eberz Hans Wallat Wagner Tristan und Isolde Ruth Berghaus Ricarda Merbeth | Lioba Braun | Stephen Gould Kent Nagano Wagner Tristan und Isolde Harry Kupfer Iréne Theorin | Ian Storey | René Pape Daniel Barenboim Wagner Tristan und Isolde Claus Guth Janice Baird | Ian Storey | H.P.König Axel Kober Wagner Die Meistersinger ♥ Stefan Herheim Anna Gabler | Michael Volle | Roberto Saccà Daniele Gatti Wagner Die Walküre Kurt Horres Linda Watson | Klaus Florian Vogt | H.P.König Axel Kober Wagner Parsifal Calixto Beito Christiane Libor | Daniel Kirch | Markus Marquart
    [Show full text]
  • Salle Pleyel
    MARDI 29 MAI – 20H Richard Strauss Salome (version de concert) Drame musical en un acte d’après la pièce d’Oscar Wilde dans la traduction allemande de Hedwig Lachmann Orchestre Philharmonique de Strasbourg Marc Albrecht, direction Janice Baird, soprano (Salome) Chris Merritt, ténor (Herodes) Anja Silja, mezzo-soprano (Herodias) Alan Titus, baryton (Jochanaan) Rainer Trost, ténor (Narraboth) Hanne Fischer, alto (un page) Olivier Ringelhahn, ténor (premier Juif) Kenneth Roberson, ténor (deuxième Juif) Peter Maus, ténor (troisième Juif) Kevin Conners, ténor (quatrième Juif) Alfred Kuhn, basse (cinquième Juif) Andreas Hörl, basse (premier Nazaréen/deuxième soldat) Andreas Kohn, basse (premier soldat) Carlos Aguirre, baryton (deuxième Nazaréen) Patrick Bolleire, basse (un Cappadocien) Naïra Ghazaryan, mezzo-soprano (un esclave) Mardi 29 mai 29 Mardi Salome Ce concert est surtitré. Coproduction Orchestre Philharmonique de Strasbourg, Salle Pleyel. Fin du concert vers 21h50. Sans entracte. Richard Strauss Strauss Richard Personnages Salome (Salomé), fille d’Hérodiade Herodes (Hérode), tétrarque de Judée Herodias (Hérodiade), épouse d’Hérode Jochanaan (Jean-Baptiste) Narraboth, jeune Syrien, capitaine de la garde Le page de Herodiade Cinq Juifs Deux Nazaréens Deux soldats Un Cappadocien Un esclave Argument L’action se déroule en Judée, en 29 après J.C. Le décor représente une grande terrasse attenante au palais d’Hérode, tétrarque de Judée. À gauche, on peut voir une vieille citerne. La lune brille. Scène 1. Narraboth, jeune capitaine syrien, contemple avec une admiration éperdue Salomé, la fille d’Hérodiade, qui participe à un festin donné par Hérode. Le page d’Hérodiade pressent un malheur et tente de dissuader Narraboth d’attacher ses regards à la trop belle princesse.
    [Show full text]
  • Janice Baird - Dramatic Soprano Färberin - Die Frau Ohne Schatten - Rôle Debut
    Janice Baird - Dramatic Soprano Färberin - die Frau ohne Schatten - rôle debut Une leçon d'humanisme •Janice BAIRD est une merveilleuse actrice suivant dans une ligne de chant tendu tous les méandres de l'évolution psychologique de la femme du teinturier. (Eine Lektion in Humanismus Janice BAIRD ist eine wunderbare Schauspielerin, die allen Wegen der psychologischen Evolution der Frau des Färbers in einer Linie von spannungsgeladenem Gesang folgt.) Le Figaro - Jean-Louis Validire - Publié le 09 octobre 2006 •Janice BAIRD est un phénomène. Comme pour Elektra, comme dans la Tétralogie, cette soprano qui a prudemment gravi les échelons de répertoire de la soprano dramatique rappelle son aînée Birgit Nilsson, le physique et le talent dramatique en plus (Janice BAIRD ist Phänomen. Wie als ELEKTRA oder in der TETRALOGIE erinnert sie, die sich umsichtig das dramatische Repertoire erarbeitet hat, an ihre Vorgängerin Birgit Nilsson; noch dazu ihr Aussehen und schauspielerisches Vermögen) Le Monde de la Musique - Georges Gad - Novembre 2006 ALS GINGE DAS ALLES GANZ SELBSTVERSTÄNDLICH • in Toulouse war die stimmlich ungemein eruptive, schauspielerisch glänzende Janice BAIRD als Färberin. Regisseur Joel, der Hofmannsthals Geschichte im zweckmäßigen Dekor von Ezio Frigerio penibel und ohne falschen Firlefanz erzählt, gönnt sich im Färberhaus die einzige Extravaganz, deren Effekt doch stupend ist: Die frustrierte Frau sitzt vor dem Fernseher und zappt lustlos von Programm zu Programm. ... der dramatische Impetus der Komposition - gegen Ende des zweiten Akts zumal - wirkt unausweichlich. Und das Publikum tobt vor Begeisterung. Es wird wohl vollzählig wiederkehren, wenn Janice BAIRD im Frühjahr als Isolde auf der Bühne des Théâtre du Capitole erscheint - wieder in einer Inszenierung von Nicolas Joel und unter Steinbergs Leitung.
    [Show full text]
  • News and Events
    Volume 24 Number 2 topical Weill Fall 2006 A supplement to the Kurt Weill Newsletter news &news events Berlin Phil Plays Weill Critical Edition of Der Protagonist The Berlin Philharmonic focuses on Weill this season in Published four different concert programs at the Philharmonie. On 8 Series I, Volume 1 of the Kurt Weill Edition, the November 2006, Sir Simon Rattle leads Mahagonny critical edition of Weill’s opera Der Protagonist, Songspiel with noted soloists and the Philharmonic’s has been published by the Kurt Weill Foundation Orchestra Academy, established in 1972 to prepare the most for Music and European American Music. Edited talented young musicians to join the Philharmonic and by Gunther Diehl and Jürgen Selk, the volume other leading international orchestras. Weill’s Symphony contains the full orchestral score of 324 pages, No. 2, in a program with Shostakovich and Prokofiev, will accompanied by an introductory essay and a sep- be conducted by Ion Marin on 5 and 6 May 2007. Former arately published critical report. For the first Artistic Director Claudio Abbado returns to the time, the score of Weill’s 1925 one-act opera is Philharmonic on 18–20 May for performances of Weill’s Simon Rattle available for purchase. Violin Concerto, with Kolja Blacher as soloist. And on 1–3 June, the Berlin Philharmonic plays Die sieben Todsünden, with Rattle conducting; Angelika Kirchschlager as Anna I; and a male quartet consisting of William Burden, Timothy Robinson, Simon Keenlyside, and Reinhard Hagen. This last series of concerts will be accompanied by an education- al program entitled MusicOPERA, in which students at two Berlin secondary schools create their own “sung ballet” on the Sins theme.
    [Show full text]
  • Magical Night
    REVIEWS Performances Magical Night Royal Opera House London Premiere: 9 December 2011 There were many admirable aspects to the Royal Opera House’s presentation of Weill’s ballet-pantomime, which was premiered in Berlin in 1922. This was the first performance in the UK. There was no skimping on the staging in the ROH’s Linbury Studio The- atre—the budget was generous, the designs intricate, the produc- tion lively and complex. There were 29 performances during the Christmas season given in mornings, afternoons and evenings— the afternoon performance I attended on 10 December 2011 was packed with children and their mothers. The press reaction was also very encouraging. All the London papers carried reviews, the majority of them initially focusing on the music, as well they might. The one undeniable The Witch forces the Toy Fairy back into the toy box. success of the venture was the outstanding playing of the band of TRISTRAM KENTON PHOTO: ten under the baton of James Holmes, always sympathetic to the composer’s varying idioms—witness his memorable leadership (now a dancer), and played games with the awakened children. of Der Kuhhandel and One Touch of Venus for Opera North in To judge from some audience restlessness—myself included— recent years. In this studio theatre the sound was ideally crisp and the narrative was less than clear, and it was no help that the pungent, with the impulsive rhythmic precision pointing most Fairy (Yvette Bonner), whose song has to propel the story, sang clearly to the more mature Weill. virtually wordlessly. What was she telling us, or should she have The excellence of the musical performance gave admirers of been telling us? Three footballers joined in, briefly, and a deep-sea the composer much food for thought.
    [Show full text]
  • Lisa Gasteen: the Brünnhilde of Oz
    Lisa Gasteen: The Brünnhilde of Oz Lisa Gasteen has sung her way from Australia to Valhalla and has become the toast of Covent Garden. Jessica Duchen visits her backstage to hear about a remarkable musical journey Published: 04 October 2005 When a young girl from Brisbane began to sing to herself while riding her horse through the outback, she little thought that one day she'd be riding a Wagnerian horse into the flames of Valhalla on the world's finest operatic stages. Today, though, Lisa Gasteen is one of the most sought-after among international Wagnerian sopranos. She's currently singing Brünnhilde in the Royal Opera House's ongoing Ring cycle, where her radiant voice and stage presence were shown off to fabulous advantage in the second opera, Die Walküre , earlier this year. I caught up with her just before last Sunday's first night of the third opera, Siegfried , in which the brawny eponymous hero awakens Brünnhilde at last from her enchanted sleep. "This is where Brünnhilde has to let go of her godliness as a Valkyrie, " Gasteen says. "It's a real struggle. She's fighting to face the fear of becoming human and a woman, the fear of the unknown, the fear of being in love - because love equals vulnerability. And at the end she's wild; it's a reckless outpouring." She's thoroughly enjoying working with the conductor, Tony Pappano, the producer, Keith Warner - "He has a very clear vision, no mucking around changing things at the last minute" - and her Siegfried, the Cornish tenor John Treleaven.
    [Show full text]
  • Livres Et Documents Sur Richard Wagner (1813-1883)
    LIVRES ET DOCUMENTS SUR Richard WAGNER (1813-1883) (Mise à jour le 25 mars 2013) Médiathèque Musicale Mahler 11 bis, rue Vézelay – F-75008 Paris – (+33) (0)1.53.89.09.10 Médiathèque Musicale Mahler – Bibliographie Wagner / 2013 Livres et documents sur Richard Wagner (1813-1883) LIVRES A : Catalogues, catalogues d'expositions, programmes… 3 B : Ecrits de Richard Wagner, correspondance… 4 C: Biographies, études… 6 D : Ouvrages collectifs, colloques, symposiums… 15 E : Revues… 16 G : Analyses d'œuvres… 17 Wagner dans les ouvrages thématiques… 23 Wagner dans les biographies d'autres compositeurs… 32 PARTITIONS 36 ENREGISTREMENTS SONORES 41 REVUES 64 FONDS D'ARCHIVES 66 ARCHIVES NUMÉRISÉES 75 2 Médiathèque Musicale Mahler – Bibliographie Wagner / 2013 LIVRES BIOGRAPHIES DE RICHARD WAGNER A : catalogues… Bayreuth 1876-1976. - Bayreuth : Festspielleitung Bayreuth, 1976. - (BM WAG A14) Dossier Richard Wagner de Roger Commault. - . - (BM WAG A11 (Réserve)) Exposition Richard Wagner : Musée Galliéra, 24 juin-17 juillet 1966. - Paris : Musée Galliéra, 1966. - (BM WAG A13) Richard Wagner Kalender : Merkbüchlein über Richard Wagner's Leben, Werke und Wirken für alle Tage des Jahres. - Wien : Fromme, 1882. - (BM WAG A5 (Réserve)) Richard Wagners photographische Bildnisse. - München : Bruckmann, 1908. - (BM WAG A7) Wagner e Venezia : catalogo della mostra, Palazzo Vendramin-Calergi, 13 febbraio - 31 luglio 1983. - Venezia : Palazzo Vendramin-Calergi, 1983. - (BM WAG A10) ALLGEMEINER RICHARD-WAGNER-VEREIN. - Bayreuther Taschenkalender für das Jahr 1885. - München : Schmid, 1885. - (BM WAG A5 (Réserve)) ALLGEMEINER RICHARD-WAGNER-VEREIN. - Bayreuther Taschenkalender für das Jahr 1886. - München Leipzig : Schmid : Leede, 1886. - (BM WAG A5 (Réserve)) ASSOCIAZIONE RICHARD WAGNER DI VENEZIA. - Venezia per Wagner : progetto per la fondazione a Venezia di un museo e di un centro internazionale di studi e di ricerche dedicati a Richard Wagner.
    [Show full text]
  • Wagner Society Newsletter 110, December
    Wagner Society in NSW Inc. Newsletter No. 110, December 2007 IN NEW SOUTH WALES INC. President’s Report Dear Members The general interpretation of Tankred Dorst’s current Ring production is that it shows that we and the Ring characters Welcome to our fourth and final Newsletter for 2007. This share the same space, but for some reason we cannot issue has some very interesting reviews and commentaries see each other (unless we are part of the audience in the from members who have returned from overseas Wagner Festspielhaus). This makes some sense for the Gods at events, including Bayreuth, and I’d like to thank all of least – which of us can say that we have ever seen a God, them for sharing their insights with us, some of which except perhaps when we looked into the mirror on a good have had to be held over until the first Newsletter of day – but it seems more unlikely that we’re sharing the 2008. same space as the Vassals or the giants without knowing Functions in 2007 it. This interpretation is sometimes described as “parallel universes” which I think gives Herr Dorst’s single idea an Heath Lees and Mallarmé undeserved grandness and pseudo-scientific stature. On Sunday, 2 September, Professor Heath Lees gave a Aliro Olave had a unique theory on the meaning of Herr fascinating talk on Wagner and Mallarmé, in conjunction Dorst’s production – that it was like a rehearsal in which with the launch of his new book Mallarmé and Wagner: people unrelated to the actual performance came and Music and Poetic Language.
    [Show full text]