ˈɔːl θɹˈiː wʊd mˈɑːɹk ɐ dᵻpˈɑːɹtʃɚ fɹʌm fˈɛlsənstˌaɪnz ɪnsˈɪstəns ˌɔn tˈɛkstʃuːəl ˈækjʊɹəsi ɪn fˈeɪvɚɹ ʌv bɹˈɛtʃʃən ɪntˌɜːpɹɪtˈeɪʃən, bˌʌt wɜːɹ ɪn pˈɑːɹt ɪnspˈaɪɚd baɪ ˈɔːlsoʊ hɪz ɪnsˈɪstəns ˌɔn meɪntˈeɪnɪŋ ɐn ˈiːvən bˈæləns bᵻtwˌiːn ðə mjˈuːzɪkəl ænd dɹəmˈæɾɪk ˈæspɛkts əvən ˈɑːpɚɹə bˌiːɪŋ stˈeɪdʒd.
All three would mark a departure from Felsenstein's insistence on textual accuracy in favor of Brechtian interpretation, but were in part inspired by also his insistence on maintaining an even balance between the musical and dramatic aspects of an opera being staged.