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The brass contribution to the coming of Orest was crucial not only in identifying the mysterious stranger, but also in underlying the Wagnerian sound of Fate, without which the drama would seem merely sensational.Jane Henschel is not the sort of artist to give so searingly nasty a reading of Klyt??mnestra as, say, Felicity Palmer (whom I have seen in London and Amsterdam), but the grotesquerie of
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