ðɪ ˌɪndɚɹˈɛkt ˈɪnfluːəns ʌv bˈɜːɡaʊsᵻz juːnˈiːk ˌɪntəlˈɛktʃuːəl ɡɹˈæsp ʌv ˈɪŋkəlkˌeɪɾɪŋ kˌoːɹɪˈɑːɡɹəfi ɪn hɜː stˈeɪdʒɪŋ ʌv ˈɑːpɚɹə kæn pɚhˈæps biː ˈɔːlsoʊ fˈɛlt ɪn pɹədˈʌkʃənz baɪ hˈæɹi kˈʌpfɚ, ɪŋklˈuːdɪŋ ʌv hɪz ɹˈɪŋ æt bˈeɪɹuːθ ænd æt stˈɑːtsoʊpɚ bɜːlˈɪn ænd ˈɔːlsoʊ ʌv dʒˈɜːdʒən flˈɪm wˈɜːði ʌv nˈoʊt hɪz pɹədˈʌkʃən ʌv ˈoʊɾəlˌoʊ æt stˈɑːtsoʊpɚ bɜːlˈɪn ˈɔːlsoʊ kəndˈʌktᵻd baɪ dˈænjəl bˈæɹənbˌɔɪm.
The indirect influence of Berghaus's unique intellectual grasp of inculcating choreography in her staging of opera can (perhaps) be also felt in productions by Harry Kupfer, including of his Ring at Bayreuth and at Staatsoper Berlin and also of Jurgen Flimm – worthy of note his production of Otello at Staatsoper Berlin – also conducted by Daniel Barenboim.