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The Cambridge Companion to Wagner
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Cited by

  • 2012The Cambridge Companion to Opera Studies67 cited
  • 2012Vocal performance in the seventeenth century56 cited
  • 2012The Cambridge History of Musical Performance46 cited
  • 2016Understanding the leitmotif: from Wagner to Hollywood film music30 cited
  • 2020The Cambridge Companion to Wagner's Der Ring des Nibelungen24 cited
  • 2012‘Too much music’: the media of opera16 cited
  • 2019The Parrys andPrometheus Unbound14 cited
  • 2012The operatic event: opera houses and opera audiences13 cited
  • 2012Opera and modes of theatrical production12 cited
  • 2012Opera and the technologies of theatrical production12 cited
  • 2012Introduction: opera studies today11 cited
  • 2012The performer and the composer10 cited
  • 2015A Third Note: Helmholtz, Palestrina, and the Early History of Musicology10 cited
  • 2012Genre and poetics8 cited
  • 2010Elsa's reason: On beliefs and motives in Wagner'sLohengrin6 cited
  • 2012Instrumental performance in the nineteenth century

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6 cited