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John Deathridge

Biographic Data

ID1116190
NAMEJohn Deathridge
GIVEN NAMESJohn
FAMILY NAMEDeathridge
SIGNATUREDEATHRIDGE J
VERIFIEDNo
TOTAL WORKS9
TOTAL CITATIONS1
WORKS AS AUTHOR9
WORKS AS EDITOR0
FIRST PUBLICATION YEAR1978
LATEST PUBLICATION YEAR2024
H-INDEX1
  • Wagner in Context

    Trippett Trippett, Katharine Ellis et al.•BOOK•Wagner in Context•2024

  • Wagner, (Wilhelm) Richard

    Barry Millington, John Deathridge et al.•CHAPTER•The new Grove dictionary of music…•2001

  • Wagner family

    Barry Millington, John Deathridge et al.•CHAPTER•The new Grove dictionary of music…•2001

  • Post-Mortem on Isolde

    John Deathridge•ARTICLE•New German Critique•1996•Cited by: 1

    In sport and myth, men and women are segregated in terms of the physical demands made on them. Opera, however, is one area where women will always be vocally equal, if not superior. Brigid Brophy wrote in her wonderful study of Mozart's operas that, without denying the beauty of men's voices or their necessary presence in opera, it is the female voice, and par excellence the soprano, which exerts the most vivid pressure on our imagination.2 In a …

  • Wagner Lives

    Robert Anderson, Robert H Anderson et al.•ARTICLE•The Musical Times•1985

  • Cataloguing Wagner

    John Deathridge•ARTICLE•The Musical Times•1983

  • Rienzi' in Perspective

    Reinhard Strohm, John Deathridge•ARTICLE•The Musical Times•1978

  • A Blinkered View

    John Deathridge, John Chancellor et al.•ARTICLE•The Musical Times•1978

  • "Wagner's "Rienzi

    Michel Noiray, John Deathridge•ARTICLE•Revue de musicologie•1978

  • Post-Mortem on Isolde

    John Deathridge•ARTICLE•New German Critique•1996•Cited by: 1

    In sport and myth, men and women are segregated in terms of the physical demands made on them. Opera, however, is one area where women will always be vocally equal, if not superior. Brigid Brophy wrote in her wonderful study of Mozart's operas that, without denying the beauty of men's voices or their necessary presence in opera, it is the female voice, and par excellence the soprano, which exerts the most vivid pressure on our imagination.2 In a …

  • Rienzi' in Perspective

    Reinhard Strohm, John Deathridge•ARTICLE•The Musical Times•1978

  • A Blinkered View

    John Deathridge, John Chancellor et al.•ARTICLE•The Musical Times•1978

  • "Wagner's "Rienzi

    Michel Noiray, John Deathridge•ARTICLE•Revue de musicologie•1978

  • Cataloguing Wagner

    John Deathridge•ARTICLE•The Musical Times•1983

  • Wagner Lives

    Robert Anderson, Robert H Anderson et al.•ARTICLE•The Musical Times•1985

  • Post-Mortem on Isolde

    John Deathridge•ARTICLE•New German Critique•1996•Cited by: 1

    In sport and myth, men and women are segregated in terms of the physical demands made on them. Opera, however, is one area where women will always be vocally equal, if not superior. Brigid Brophy wrote in her wonderful study of Mozart's operas that, without denying the beauty of men's voices or their necessary presence in opera, it is the female voice, and par excellence the soprano, which exerts the most vivid pressure on our imagination.2 In a …

  • Wagner, (Wilhelm) Richard

    Barry Millington, John Deathridge et al.•CHAPTER•The new Grove dictionary of music…•2001

  • Wagner family

    Barry Millington, John Deathridge et al.•CHAPTER•The new Grove dictionary of music…•2001

  • Wagner in Context

    Trippett Trippett, Katharine Ellis et al.•BOOK•Wagner in Context•2024

Art (4 works) · History (4 works) · Italian Fascism and Post-war Society (3 works) · Musicology and Musical Analysis (3 works) · Philosophy (2 works) · Visual arts (2 works) · Archaeology (1 work) · Art, Technology, and Culture (1 work) · Context (archaeology) (1 work) · Diverse Musicological Studies (1 work)

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