‘The Sea and the Stars and the Wastes of the Desert’, University of Toronto Quarterly, 67, pp. 750–60

Imagine the following. You are fortunate enough to be able to attend performances of Verdi's Un ballo in maschera in London, Milan, and then N ew York. The performances are all different - different casts, conductors, orchestras, staging teams - but you of course have expectations of both difference and sameness.