1 See BadiouAlain, Five Lessons on Wagner, trans. Susan Spitzer (London, 2010).
2 On work concepts, see LockhartEllen, ‘Photo Opera: La fanciulla del West and the Staging Souvenir’, Cambridge Opera Journal23 (2011), 146–147; on politics, DeathridgeJohn, ‘Waiting for Wagner: Reluctant Musicology, Radical Philosophy, and the Rescue of a Fraught Legacy’, Opera Quarterly30 (2014), 267–285.
3 See SmithStephen Decatur, ‘Badiou and Wagner: From Fidelity to Prophecy’, Opera Quarterly29 (2013), 335–341, as well as the collection of position papers by Michael Gallope, Brian Kane, Naomi Waltham-Smith and Kenneth Reinhard that follow.
4 See JankélévitchVladimir, Music and the Ineffable, trans. Carolyn Abbate (Princeton, 2003).
5FosterHal, ‘What’s the Problem with Critical Art?’, review of Jacques Rancière, Aisthesis: Scenes from the Aesthetic Regime of Art, London Review of Books 35/19 (10 October 2013), 14.
6Badiou, Five Lessons, 83.
7Badiou, Five Lessons, 82–83.
8Badiou, Five Lessons, 83.
9SmithMatthew Wilson, ‘A Note from the Guest Editor’, Opera Quarterly30/2–3 (2014), 170.
10 Smith, ‘A Note’, 169.
11 See SmithMatthew Wilson, The Total Work of Art: From Bayreuth to Cyberspace (New York, 2007).
12Smith, Total Work of Art, 3.
13 ‘Is Strauss perpetrating all of the time what Wagner, advised by Cosima, might have been doing at the end of Die Meistersinger, deflecting attention away from devastation by engaging us in a paean to holy German art?’ (104).
14 See boulezian.blogspot.co.uk.
15BekkerPaul, The Changing Opera, trans. Arthur Mendel (London, 1935), 257.
16 It should also be said that Tristan’s Shadow suffers from remarkably poor copy editing. ‘Tragaldalbas’ and ‘Der geborgte Ehemann’ are given separate index entries. The claim, ‘As chapter 6 showed, operatic phantasmagoria depended on a particular operatic erotics’, surely refers to chapter 4 (‘Erotic Acoustics’) (190). Sentences at times seem to be missing words, leaving one to puzzle over proposals like, ‘But, in keeping with his divine attribute of fire, Loge is accurate messaging that can take place in signification (the subject of hermeneutics), but instead everything to do with the deception and distortion that can plague the signifying process’ (170).
17 See DaviesJames Q., Romantic Anatomies of Performance (Berkeley, 2014); and DolanEmily I., The Orchestral Revolution: Haydn and the Technologies of Timbre (Cambridge, 2013).
18PaigeKirsten, in Notes: Quarterly Journal of the Music Library Association 70 (2014), 708.