Contributors to This Issue

Daniel Albright is the Ernest Bernbaum Professor of Literature in the Department of English and American Literature and Language at Harvard University. He is the author of Modernism and Music: An Anthology of Sources (University of Chicago Press: 2004), Berlioz's Semi-Operas: Roméo et Juliette and La damnation de Faust (University of Rochester Press: 2001), and Untwisting the Serpent: Modernism in Music, Literature, and the Visual Arts (University of Chicago Press: 2000).

William Albright is a staff writer for the Houston Independent School District. His reviews appear regularly in The Opera Quarterly.

Robert Baxter is the arts critic for the Camden Courier-Post. His reviews and feature articles have appeared in Opera, Opera News, Opera Canada, and other publications.

James Davies is a research fellow in music at Gonville & Caius College at the University of Cambridge. He has published work on danced Beethoven symphonies, the Romantic castrato, and English musical annuals in 19^th-Century Music (2003), Cambridge Opera Journal, and Journal of the Royal Musical Association (both forthcoming).

John Deathridge is the King Edward Professor of Music at King's College London. His recent work on Wagner includes Dokumente und Texte zu "Lohengrin" with Klaus Döge (Schott Musik International: 2003) and "Wagner's Unfinished Symphonies" in the forthcoming volume Late Thoughts: Reflections on Artists and Composers at Work, ed. Thomas Crow and Karen Painter (Getty Research Institute: 2006).

Andrew Farkas is Library Director Emeritus of the University of North Florida and, with Enrico Caruso, Jr., author of Enrico Caruso: My Father and My Family (Amadeus Press: 1990). More recently, "Researching Caruso" and "Park Benjamin, Caruso's Father-in-Law" appeared in The Opera Quarterly (summer 2004).

Lydia Goehr is a professor of philosophy and aesthetics at Columbia University. She is the author of The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (Oxford: 1992) and The Quest for Voice: Music, Politics, and the Limits of Philosophy (Oxford: 1998) and coeditor with Daniel Herwitz of The Don Giovanni Moment. Essays on the Legacy of an Opera (Columbia University Press: 2006). She is currently completing a book entitled Notes to Adorno.

Roland Graeme is the pseudonym of a writer, artist, and musician who, for the past twenty-five years, has served as a public employee in New York State. He has contributed to Digital Audio and Compact Disc Review and to The Metropolitan Opera Guide to Recorded Opera (W.W. Norton: 1993).

M. E. Henstock—no biographical information provided.

Tom Kaufman is the retired senior manager of regulatory affairs at Warner-Lambert-Parke Davis. The author of Annals of Italian Opera: Verdi and his Major Contemporaries (Garland Publishing: 1990), he is currently completing a bibliography of annals of (and books about) opera houses and theaters.

Joe Law is professor of English, assistant vice president for articulation and transfer, and coordinator of Writing across the Curriculum at Wright State University. He is also review editor of The Opera Quarterly and a regular contributor to these pages.

David J. Levin teaches at the University of Chicago and is executive editor of this journal. He is the author of Richard Wagner, Fritz Lang, and the Nibelungen: The Dramaturgy of Disavowal (Princeton University Press: 2000) and the forthcoming Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky (University of Chicago Press). In addition to his academic work, Levin has worked extensively as an opera dramaturg.

Nicholas Limansky, the parish administrator of a landmark church in Greenwich Village, sang professionally in New York City for two decades before turning to freelance writing. Specializing in the recorded documentation of classical vocal tradition, he has written for a number of journals including The Opera Quarterly, The Record Collector, Opera News, and Classical Singer Magazine.

Jean-Pierre Ponnelle (1932–1988) studied painting with Fernand Léger, as well as philosophy and art history at the Sorbonne. He made his opera debut as set and costume designer for the premiere of Hans Werner Henze's Boulevard Solitude in Hannover in 1952. Just over a...