I am in the great Wagner-, Mann-, and Joyce-Stadt of Zürich, where the Zürcher Hochschule der Künste has invited me to lecture on general classical-music matters (Monday, 530pm). I just saw Dmitri Tcherniakov's formidable new production of Pelléas et Mélisande at the Zürich Opera, for which Kyle Ketelsen created perhaps the most psychologically intricate and unsettling portrait of Golaud I've seen —one that is all the more potent for stopping short of irrevocable violence. More on that at a later date, I hope.