Of all Richard Wagner’s music dramas, the one I know best is Tristan und Isolde, as do a lot of people, I imagine. I first came to it as an undergraduate, courtesy of the LPs lent me by my tutorial partner. At the age of 19, Henry was already an authority on Wagner, thanks in large part to the volunteer work he’d been doing for three years as a scene-shifter and odd-jobber at the Bayreuth Festival.