Rhinemaidens - Knowledge (XXG)

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ensues. First, Woglinde pretends to respond to the dwarf's advances but swims away as he tries to embrace her. Then Wellgunde takes over, and Alberich's hopes rise until her sharp retort: "Ugh, you hairy hunchbacked clown!" Flosshilde pretends to chastise her sisters for their cruelty and feigns her own courtship, by which Alberich is quite taken in until she suddenly tears away to join the others in a mocking song. Tormented with lust, Alberich furiously chases the maidens over the rocks, slipping and sliding as they elude him, before he sinks down in impotent rage. At this point the mood changes: as a sudden brightness penetrates the depths, a magical golden light reveals, for the first time, the Rhinegold on its rock. The maidens sing their ecstatic greeting to the gold, which rouses Alberich's curiosity. In response to his question Woglinde and Wellgunde reveal the gold's secret: measureless power would belong to the one who could forge a ring from it. Flosshilde scolds them for giving this secret away, but her concerns are dismissed—only someone who has forsworn love can obtain the gold, and Alberich is clearly so besotted as to present no danger. But their confidence is misplaced; in his humiliation Alberich decides that world mastery is more desirable than love. As the maidens continue to jeer his antics he scrambles up the rock and, uttering a curse on love, seizes the gold and disappears, leaving the Rhinemaidens to dive after him bewailing their loss.

601:" to send them a champion who will return the gold to them. Siegfried's horn is heard, and he soon appears, having lost his way while hunting. The maidens greet him with their old playfulness and offer to help him, for the price of the ring on his finger. After a flirtatious exchange, Siegfried offers, apparently sincerely, to give them the ring. But instead of wisely simply accepting his offer, the mood of the naive, formerly flirtatious Rhinemaidens suddenly becomes solemn: they warn Siegfried he will be killed that very day unless he delivers the ring to them. But brave Siegfried will never submit to any such implied threat and declares: "By threatening my life and limb, even if it weren't worth as much as a finger, you won't get the ring from me!" The maidens are scornful of his folly: "Farewell, Siegfried. A proud woman will today become your heir, scoundrel! She'll give us a better hearing". Siegfried is not aware that it is to Brünnhilde that they refer. They swim off, leaving a puzzled Siegfried to ponder their words and to admit to himself that he could happily have seduced any one of them. 531:

guardianship of the gold and their provocation of Alberich are the factors which determine all that follows. Wagner himself devised the "renunciation of love" provision whereby the gold could be stolen and then used to forge a ring with power to rule the world. Since the ring is made from the stolen gold, only its restoration to the Rhinemaidens' care in the waters of the Rhine will lift the curse on it. Hence, the return of the stolen property provides a unifying thematic consistency to Wagner's complex story.

753: 583: 829: 477:) and complains about the many men they have lured away with their "treacherous bathing". They are beguiling and flirtatious with Siegfried, but finally wise as revealed by the undisclosed counsel which they give to Brünnhilde. Sabor sees the personality of the Rhinemaidens as a blend of the "good hearted nature" of the Oceanids and the "austerity" (including the willingness to drown people) of the daughters of Ægir. 3233: 614:

to yourselves. The fire...will cleanse the curse from the ring". She exhorts the Rhinemaidens to "carefully guard it" in the future, then leaps into the flames of Siegfried's pyre. The fire blazes up to fill the stage, representing the destruction of the gods. As the Rhine overflows its banks the Rhinemaidens appear, making for the ring. Hagen, who covets the ring, shouts to them "Get back from the ring!" (

888: 3243: 3253: 161:'s ashes. They have been described as morally innocent, yet they display a range of sophisticated emotions, including some that are far from guileless. Seductive and elusive, they have no relationship to any of the other characters, and no indication is given as to how they came into existence, beyond occasional references to an unspecified "father". 840:, broke with tradition and featured an austere staging which replaced scenery and props with skilful lighting effects. The Rhinemaidens, along with all the other characters, were plainly dressed in simple robes, and sang their roles without histrionics. Thus the music and the words became the main focus of attention. Wieland was influenced by 2587: 2575: 2563: 2543: 2531: 2519: 2507: 2492: 2464: 2452: 2440: 876:, Chéreau altered the perpetual youth aspect of the Rhine Maidens by depicting them as "no longer young girls merrily disporting themselves; they have become tired, grey, careworn, and ungainly". Since this production "the assumption of unrestricted interpretive license has become the norm". For example, Nikolaus Lehnhoff, in his 1987 428: 545: 262: 744:, Act 3 Scene 1), as a "gracious woodland idyll". The musical elements associated with the Rhinemaidens in this scene have not previously been heard; Holman describes them as alluding to the maidens' seductive nature, as well as conveying a sense of nostalgia and detachment, as the drama approaches its conclusion. 777:). The staging of their scenes has always been a test of ingenuity and imagination, since Wagner's stage directions include much swimming and diving and other aquatic gymnastics. Traditionally, therefore, much use has been made of backdrops and lighting to achieve the necessary watery effects. Until the 464:

describes the Rhinemaidens as "thoughtless, elemental, only half-real things, very much like modern young ladies". The attributes most apparent initially are charm and playfulness, combined with a natural innocence; their joy in the gold they guard derives from its beauty alone, even though they know

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thanks the Rhinemaidens for their "good advice". They have apparently told her the full story of Siegfried's ensnarement and betrayal, and advised that only the return of the ring to the waters of the Rhine can lift its curse. Brünnhilde sings: "What you desire I will give you: from my ashes take it

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Wagner's operas do not reveal where the Rhinemaidens came from, or whether they have any connection to other characters. Whereas most of the characters in the cycle are inter-related, through birth, marriage, or sometimes both, the Rhinemaidens are seemingly independent. The identity of their father

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cycle, bringing to it rare instances of comparative relaxation and charm. The music contains important melodies and phrases which are reprised and developed elsewhere in the operas to characterise other individuals and circumstances, and to relate plot developments to the source of the narrative. It

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who calls out to them: "I'd like to draw near if you would be kind to me". The wary Flosshilde cries: "Guard the gold! Father warned us of such a foe". When Alberich begins his rough wooing the maidens relax: "Now I laugh at my fears, our enemy is in love", says Flosshilde, and a cruel teasing game

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version as Loge reports the theft of the gold to the gods and the consequent rising power of the Nibelungen. The "Rheingold!" repetition is sung by the Rhinemaidens to the same falling step that marked the start of Woglinde's song. This figure recurs constantly in the later stages of the drama; in

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and the lighting effects were designed by Carl Brandt, who was the foremost stage technician of the time. One innovation which Cosima did eventually approve was the replacement of the wheeled stands with giant, invisible "fishing rods" on which the Rhinemaidens were dangled. Wires continued to be

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As Wotan, Fricka and the other gods start to cross the rainbow bridge leading to Valhalla, they hear a melancholy song from the depths of the Rhine—the maidens, mourning the loss of the gold. Embarrassed and irritated, Wotan tells Loge to silence the maidens, but as the gods continue across the

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The Rhinemaidens are the only prominent characters seen definitely alive at the end of the drama; the fates of a few others are ambiguous, but most have certainly perished. Despite the relative brevity of their roles in the context of the four-opera cycle, they are key figures; their careless

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The Rhinemaidens have been described as the drama's "most seductive but most elusive characters", and in one analysis as representatives of "seduction by infantile fantasy". They act essentially as a unity, with a composite yet elusive personality. Apart from Flosshilde's implied seniority,

925:, first staged 2004–06. A Covent Garden spokesman explained "The maidens are children of innocence, a vision of nature – and as soon as someone appears they hastily throw on some clothes to protect their modesty." While Warner relies on lighting to achieve an underwater effect, Hall used a 523:, Loge ironically suggests that, in the absence of the gold, the maidens should "bask in the gods' new-found radiance". The maidens' lament then becomes a stern reproof: "Tender and true are only the depths", they sing; "False and cowardly is all that rejoices up there". In the final 327:'s theft of the Rhine gold. Believing that a simple abduction of the unguarded gold would lack dramatic force, Wagner made the Rhinemaidens the guardians of the gold, and he introduced the "renunciation of love" condition. Bronnlinde became Woglinde, probably to avoid confusion with 508:, meaning holy water. Other words were intended as parallels to those found in German nursery lullabies ('Eia Poppeia', 'Heija Poppeia' and 'Aia Bubbeie' are common forms). Thus Woglinde's lines portray both the childish innocence of the Rhinemaidens and the holiness of Nature. 141:

gold, and the condition (the renunciation of love) through which the gold could be stolen from them and then transformed into a means of obtaining world power—are wholly Wagner's own invention, and are the elements that initiate and propel the entire drama.

618:), the last words of the drama. He is seized by Woglinde and Wellgunde and dragged into the Rhine's depths, as Flosshilde grabs the ring, holds it aloft, and joins her sisters swimming in circles as the waters of the Rhine gradually subside. 38: 559:

As the musical prelude climaxes, Woglinde and Wellgunde are seen at play in the depths of the Rhine. Flosshilde joins them after a gentle reminder of their responsibilities as guardians of the gold. They are observed by the Nibelung dwarf

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Although the roles of the Rhinemaidens are relatively small, they have been sung by notable singers better known for performing major roles in Wagnerian and other repertoire. The first person to sing the part of Woglinde in full was

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praised Appia: "the stylised stage, inspired by the music and the realisation of three-dimensional space – constitute the initial impulses for a reform of operatic stagings which led quite logically to the 'New Bayreuth' style."

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in 1876, it was established that the Rhinemaidens should be depicted in conventional human form, rather than as mermaids or with other supernatural features, notwithstanding Alberich's insult to Wellgunde: "Frigid bony fish!"

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its latent power. The veneer of childlike simplicity is misleading; aside from proving themselves irresponsible as guardians, they are also provocative, sarcastic and cruel in their interaction with Alberich. When the demigod

323:), and were given individual names: Flosshilde, Wellgunde, and Bronnlinde. As Wagner continued working on his reverse chronology from Siegfried's death, he arrived at what he determined was the initial act of the drama— 3309: 657:

when, after Brünnhilde's immolation, the Rhinemaidens rise from the river to claim the ring from Siegfried's funeral pyre. Its first five notes, with an altered rhythm, become the motive of the sleeping Brünnhilde in

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operas. Although there had been some innovation in productions staged elsewhere, it was not until the postwar revival of the Festival in 1951 that there were any significant changes in Bayreuth's presentation of the

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above the stage, enabling them to dive up and down, as intended by Wagner. The Rhinemaidens were played on-stage by gymnasts, mouthing words sung by singers standing in a corner of the stage.

241:'s kingdom. But afterwards another mermaid, Sigelinde (a name Wagner would adopt again for use elsewhere), tells Hagen her aunt has lied. If they go to Etzel's land, they will die there. 201:) appear in many European myths and legends, often but not invariably in a form of disguised malevolence. Wagner drew widely and loosely from those legends when compiling his 597:

Some time has passed (at least two generations). In a remote wooded valley where the Rhine flows, the ageless Rhinemaidens continue to mourn for the gold, pleading with the "

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who entrusted them with the guardianship of the gold is not given in the text. Some Wagnerian scholars have suggested that he may be a "Supreme Being" who is the father of

237:. Hagen steals their clothes, and seeking their return, the mermaid called Hadeburg gives false prophecy that Hagen and Gunther will find honor and glory when they enter 4346: 3152: 832:

Keith Warner's Covent Garden production uses lighting to convey the impression of being underwater and nudity to display the natural innocence of the Rhinemaidens.

3246: 338:, the lovelorn young maiden who drowns herself in the river and becomes a siren, luring fishermen onto the rocks by her singing. Further possible sources lie in 3142: 2369: 810:, who ran the Bayreuth Festival until the end of the Second World War. Similar techniques have been used in more modern productions. In the 1996 Lyric Opera of 698:

version is used as a motive for the evil power of the ring that Alberich has forged from the gold. It comes to represent the theme of servitude to the ring; in

2574: 641:, using the notes E flat, F, A flat, B flat and C. The song begins with a two-note falling step (F followed by E flat), a figure which recurs in many musical 929:

illusion: mirrors at a 45° angle made the Rhinemaidens appear to swim vertically when the performers were in fact swimming horizontally in a shallow basin.

1757: 868:, did away altogether with the underwater concept by setting the Rhinemaiden scenes in the lee of a large hydro-electric dam, as part of a 19th-century 3289: 2818: 3198: 2349: 250:, it occurred at the (non-existent) confluence of the Danube and the Rhine. Möringen, where the doomed warriors subsequently ferried across may be 1787: 3256: 2439: 2374: 729:'s cave to claim the gold—the lament, says Cooke, serves to remind us of the gold's true ownership. The lament is played spiritedly during the 4376: 2315: 2267: 2241: 2222: 2196: 2177: 2080: 2037: 2018: 1999: 1940: 1002: 910:

after Chéreau. His version, staged 1983–86, portrayed the natural innocence of the Rhinemaidens in the simplest of ways; they were naked.

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The music associated with the Rhinemaidens has been portrayed by the Wagner commentator James Holman as "some of the seminal music in the

4401: 4371: 4361: 2491: 393: 350:; three females guard a highly desired golden treasure that is stolen in the telling of each tale. Wagner was an enthusiastic reader of 2136: 2569: 2542: 1867: 713:, as the gods begin to cross the Rainbow Bridge into Valhalla. It begins with the music from the greeting, but develops into what 4356: 702:, enslaved to the ring by his desire for it, Hagen utters his "Hoi-ho" call to his vassals using the same minor two-note figure. 673:

The "Rhinemaidens' joy and greeting to the gold": "Heiajaheia, Heiajaheia! Wallalallalala leiajahei! Rheingold! Rheingold!..." (

95:), although they are generally treated as a single entity and they act together accordingly. Of the 34 characters in the 3213: 2828: 2695: 2562: 145:

The Rhinemaidens are the first and the last characters seen in the four-opera cycle, appearing both in the opening scene of

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Götterdämmerung, Bayreuth Festival. Published by Phillips as a programme note to 1980 recording of the Festival production.

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scene they show ruthlessness as, having recovered the ring, they drag the hapless Hagen down into the waters of the Rhine.

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at Bayreuth in 1876. In 1951, when the Bayreuth Festival re-opened after the Second World War, the same part was taken by

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is reported that Wagner played the Rhinemaidens' lament at the piano, on the night before he died in Venice, in 1883.

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In the original 1876 production, the Rhinemaidens were wheeled around on stands behind semi-transparent screens. The

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describes as a "haunting song of loss", which becomes increasingly poignant before it is drowned by the orchestral

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operas. Since 1976, in particular, innovation at the Festival and elsewhere has been substantial and imaginative.

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and the Rhinemaidens' initial tolerance of Alberich. Just as in Greek myth the Oceanids are the daughters of the

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The various musical themes associated with the Rhinemaidens are regarded as among the most lyrical in the entire

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Scene 1) is a triumphant greeting song based on two elements, which are developed and transformed later in the

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was performed here in 1876. It follows that the staging is definitive and sacrosanct." Wieland and his brother

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demonstrated by occasional light rebukes and illustrated musically by awarding the role to a deeper-voiced

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A contemporary picture of the machinery used for the swimming Rhinemaidens at the 1876 premiere of the

737:, before a shadow falls across the music as it descends into the minor key of the "servitude" motive. 574:

bridge the lament rises again, now with bitter words of reproach to the gods for their heartlessness.

293: 153: 4176: 4050: 4015: 3931: 3924: 3910: 3069: 3061: 2586: 590: 400: 62: 31: 899:(centre) as Woglinde. She was the first of many significant singers to play one of the Rhinemaidens. 4183: 4155: 3815: 3577: 3107: 3002: 2730: 2723: 2251: 1054:

Exceptions are Fasolt and Fafner who are only related to each other, and the Woodbird who is alone.

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Newman describes the Rhinemaidens' scene with Siegfried": Frau Sonne..." and "Weilalala leia..." (

670:'s analysis, are related through nature, as "fundamentally innocent allies of the natural world". 4190: 4106: 4022: 4008: 3187: 3129: 2934: 2681: 2557: 2206: 954: 511:

The Rhinemaidens' sorrow in the loss of the gold is deep and heartfelt. As the gods are crossing

319:, where they warn Siegfried of his impending death. Later these water-maids became Rhinemaidens ( 3542: 3395: 865: 2307: 2299: 2169: 2161: 4218: 4162: 4029: 3889: 3507: 3035: 2904: 2646: 2525: 2458: 2311: 2306:. English National Opera Guides. Vol. 35. London: John Calder (Publishers) Ltd. pp. 2290: 2263: 2237: 2218: 2192: 2173: 2168:. English National Opera Guides. Vol. 35. London: John Calder (Publishers) Ltd. pp. 2132: 2126: 2076: 2033: 2014: 1995: 1989: 1936: 926: 919: 389: 369: 246: 194: 4169: 4071: 3868: 3847: 3717: 3696: 3444: 3430: 3042: 2982: 2967: 2614: 2405: 1970: 1691: 828: 786: 778: 718: 662:, Act 3. A variant of the tune becomes the Woodbird's greeting "Hei! Siegfried" in Act 2 of 356: 752: 364:

or water nymphs. One author, Rudolph Sabor, sees a link between the Oceanids' treatment of

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The Song of the Nibelungs: A Verse Translation from the Middle High German Nibelungenlied

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plot is not specified. Two are named, and the text suggests the possibility of a third.

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used in the Bayreuth productions of Siegfried Wagner and, later, those of his widow

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and put to many uses. For example, the joyful "heiajaheia" cries are converted, in

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production, placed the Rhinemaidens in a salon and had their lament at the end of

598: 2066: 108:. Wagner created his Rhinemaidens from other legends and myths, most notably the 4078: 3822: 3752: 3745: 3724: 3668: 3605: 3514: 3465: 3112: 2977: 2867: 1212:"Father ... ordered us cleverly to guard the bright treasure...": Flosshilde in 978: 818: 695: 183: 138: 887: 334:

Wagner may also have been influenced by the Rhine River-based German legend of

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that ends the opera. A slow version of the lament is played on the horns in

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Group of fictional characters from Richard Wagner's "Der Ring des Nibelungen"

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In Woglinde's opening song to the Rhine: "Weia! Waga! Woge, du Welle,..." (

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The Rhinemaidens lament the loss of the gold as, far above, the gods cross

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The placement of this scene has several possibilities, but according to

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narrative, and the probable origin of his Rhinemaidens is in the German

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and literature. Similarities exist between the maiden guardians in the

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reports that the Rhinemaidens need Wotan's help to regain the gold,

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literally and say that they are the daughters of the Rhine River.

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Der Nibelunge noth und Die klage: nach der ältesten überlieferung

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and all the gods—indeed, of all creation. Others take the German

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The 1951 Festival production, by Siegfried's and Winifred's son

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Das Rheingold: Berliner Philharmonika cond. Herbert von Karajan

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An Annotated Synopsis based on Patrice Chéreau's production of

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cycle, repeated in 2004–05, the Rhinemaidens were suspended on

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Mowatt renders "my sister lied" but the original text has MHG

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The Nibelungenlied (translated with introduction and notes)

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cycle, they are the only ones who did not originate in the

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Götterdämmerung: English Translation/Introduction/Synopsis

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in German) and is a possible source for Wellgunde's name.

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dated 12 June 1872, Wagner explained that he had derived

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The key concepts associated with the Rhinemaidens in the

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Das Rheingold: English Translation/Introduction/Synopsis

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setting for the operas. For the scene with Siegfried in

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characters, the Rhinemaidens do not originate from the

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Programme for 1955 Bayreuth Festival quoted Sabor p.201

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prologue, as part of the orchestral interlude known as

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The lament "Rheingold! Rheingold! Reines Gold!..." (

297:. Wagner first adapted the story for use in his early 2056:(in German) (2 ed.). Berlin: G. Reimer. p. 2030:

Wagner's Ring: A Listener's Companion and Concordance

193:, the Icelandic sources for most of Norse mythology. 2234:

Richard Wagner: Der Ring des Nibelungen: a companion

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This attracted comment both at the 1869 premiere of

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which is much further east has also been suggested.

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The three Rhinemaidens at play in the waters of the

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Cambridge (US): Harvard University Press. 2213:The Harvard Biographical Dictionary of Music 1991:The Nibelungenlied: The Lay of the Nibelungs 1646: 1644: 1642: 1640: 1493: 1491: 1489: 1086: 1084: 452:, their characters are undifferentiated. In 653:, Scene 2 and, dramatically, at the end of 504:from old German and that it was related to 291:scene and in the first scene in Act III of 3290: 3276: 3268: 3051: 2852: 2787: 2751: 2481: 2474: 2423: 2387: 2350: 2336: 2328: 1952:An introduction to Der Ring des Nibelungen 1667: 1665: 1240: 1238: 1236: 764:From the first complete production of the 311:), introducing three unnamed water-maids ( 233:) bathing themselves in the waters of the 151:, and in the final climactic spectacle of 1032:which means "aunt (on the mother's side). 484:are dominated by wordless vocalisations. 403:. The name of one of these means "wave" ( 1466: 1464: 1199: 1197: 1195: 666:. The Rhinemaidens and the Woodbird, in 480:The first lines sung by Woglinde in the 137:operas—their flawed guardianship of the 1441: 1439: 1071: 1015: 941:. Other Bayreuth Rhinemaidens include 4347:Literary characters introduced in 1869 2300:"The language and sources of the Ring" 1959:Donath, Helen and Moser, Edda (1998). 225:or water sprites (Middle High German: 7: 1834:. The Wagner Society. Archived from 1832:"Wagner Society Library Information" 1132:Stanzas 1528–54, Mowatt, pp. 142–143 492:and the 1876 premiere of the entire 281:This story, itself unrelated to the 69:or "Rhine daughters") who appear in 3252: 2304:Wagner: The Rhinegold/Das Rheingold 2166:Wagner: The Rhinegold/Das Rheingold 2103:. London: Friends of Covent Garden. 2094:. London: Friends of Covent Garden. 1935:. Oxford: Oxford University Press. 1123:Stanzas 1524–48, Ryder, pp. 286–289 2262:. London: Dover Publications Ltd. 1692:"Rhinemaidens Turn Bungee Jumpers" 860:The innovative centenary Bayreuth 25: 551:tries to reach the Rhinemaidens ( 114:which contains stories involving 4009:Johann Peter Petri (Black Peter) 3251: 3241: 3232: 3231: 2819:Männerlist größer als Frauenlist 2585: 2573: 2561: 2541: 2529: 2517: 2505: 2490: 2462: 2450: 2438: 2068:Richard Wagner and the Nibelungs 884:played on a gramophone by Loge. 846:Notes sur l'Anneau du Nibelungen 269:, Scene I – part of a series of 1972:Wagner's 'Ring' and its Symbols 1954:(CD). The Decca Record Company. 1786:Alleyne, R (18 December 2004). 3214:Richard Wagner Museum, Lucerne 2570:Die Meistersinger von Nürnberg 1914:CD recording DG 457 781 2 1998 1868:"The Lotte Lehmann Chronology" 1003:Nine Daughters of Ægir and Rán 953:between 1912 and 1914 and the 891:The 1876 premiere cast of the 605:Götterdämmerung, Act 3 Scene 3 578:Götterdämmerung, Act 3 Scene 1 1: 2703:A Communication to My Friends 2189:The Complete Operas of Wagner 1587:Cooke (1967 audio), Ex. 27–28 1569:Cooke (1967 audio), Ex. 37–38 1041:The number of sprites in the 725:, Act 2, as Siegfried enters 460:drama as political allegory, 346:myth and the Rhinemaidens of 79:. Their individual names are 4377:Germanic legendary creatures 3417:Companions of Saint Nicholas 1560:Cooke (1967 audio) Ex. 34–35 914:adapted this feature in his 439:, Scene IV (Arthur Rackham). 315:), and locating them in the 4279:Hirschsprung (Black Forest) 2953:Houston Stewart Chamberlain 2910:Bayreuth Festival Orchestra 2370:List of works for the stage 2191:. London: Victor Gollancz. 2162:"'The Rheingold'—The Music" 2032:. Portland: Amadeus Press. 1756:Henahan, D (27 July 1983). 1690:Weber, W (2 October 2004). 785:and her (and Wagner's) son 456:, his 1886 analysis of the 47:Stories of the Wagner Opera 4418: 4402:Personifications of rivers 4372:German legendary creatures 4362:Female legendary creatures 4251:Volksmärchen der Deutschen 4086:Peter Nikoll (Black Peter) 2627:Das Liebesmahl der Apostel 2209:(1996). "Helga Dernesch". 1976:. London: Faber and Faber. 1968:Donington, Robert (1963). 1551:Cooke (1967 audio), Ex. 30 1354:, Act III Scene III finale 1150:Edwards, p. 235, note 146. 637:, Scene 1) the melody is 265:Alberich steals the gold: 29: 3310:German-speaking countries 3305: 3227: 2925:Richard Wagner Foundation 2689:The Artwork of the Future 2365: 2298:Spencer, Stewart (1985). 2187:Osborne, Charles (1992). 2065:Magee, Elizabeth (1990). 2013:. London: Penguin Books. 1533:Cooke (1967 audio) Ex. 23 781:, under the influence of 735:Siegfried's Rhine Journey 307:(which eventually became 3883:Christman Genipperteinga 2799:Die Laune des Verliebten 1872:Lotte Lehmann Foundation 1762:at festival in Bayreuth" 1524:Cooke (1967 audio) Ex.25 1171:Cooke (1979), pp. 138–40 949:played Wellgunde at the 760:, as seen from backstage 609:In her final soliloquy, 4357:Der Ring des Nibelungen 4229:Legends and fairy tales 4037:Kunigunde von Orlamünde 3995:Heinrich von Winkelried 3204:Wagner-Werk-Verzeichnis 3164:Nietzsche contra Wagner 3098:Richard Wagner Memorial 3093:Richard Wagner Monument 2487:Der Ring des Nibelungen 2435:Der fliegende Holländer 2277:Ryder, Frank Glessner ( 2232:Sabor, Rudolph (1997). 2009:Gutman, Robert (1971). 1733:Schürman, Hans (1980), 775:Kalter, grätiger Fisch! 535:Role in the Ring Operas 76:Der Ring des Nibelungen 30:For the racehorse, see 4114:Rüdiger von Bechelaren 3897:Eppelein von Gailingen 2915:Bayreuth Festspielhaus 2099:Mann, William (1964). 2090:Mann, William (1964). 1950:Cooke, Deryck (1967). 906:directed the Bayreuth 900: 833: 770:Bayreuth Festspielhaus 761: 594: 569:Das Rheingold, Scene 4 556: 540:Das Rheingold, Scene 1 440: 360:which has a chorus of 278: 252:Möhringen an der Donau 54: 4286:Venusberg (mythology) 4093:Pied Piper of Hamelin 3939:Götz von Berlichingen 3855:Arnold von Winkelried 3176:The Perfect Wagnerite 2770:Ride of the Valkyries 2696:Autobiographic Sketch 2258:The Perfect Wagnerite 2160:North, Roger (1985). 939:Elisabeth Schwarzkopf 890: 878:Bayerische Staatsoper 870:Industrial Revolution 831: 755: 685:Scene 2, into a dark 585: 547: 454:The Perfect Wagnerite 430: 423:Nature and attributes 264: 209:. In one part of the 40: 4177:Walram of Thierstein 4051:Matthias Klostermayr 3932:Giselher of Burgundy 3925:Genevieve of Brabant 3911:Frederick Barbarossa 2375:List of compositions 2028:Holman, J.K (2001). 1329:Cooke (1979), p. 244 1189:Cooke (1979), p. 140 1180:Cooke (1979), p. 138 1102:Cooke (1979), p. 139 621: 591:Albert Pinkham Ryder 45:. Illustration from 32:Rhine Maiden (horse) 4237:Grimms' Fairy Tales 4184:Walter of Aquitaine 4156:The Smith of Kochel 3108:Wagner Ice Piedmont 3012:Cultural depictions 3003:Eva Wagner-Pasquier 2829:Wieland der Schmied 2731:Music of the Future 2607:Symphony in C major 2236:. London: Phaidon. 2207:Randel, Don Michael 2116:. London: J M Dent. 1933:I Saw The World End 1363:Holman, pp. 399–402 1320:, Act III Scene III 951:Hamburg State Opera 918:production for the 622:Rhinemaidens' music 462:George Bernard Shaw 4367:Germanic mythology 4191:Werner Stauffacher 4107:Punker of Rohrbach 4023:Knight of the Swan 3188:Der Ring in Minden 3130:The Case of Wagner 2889:Bayreuther Blätter 2682:Art and Revolution 2601:Non-operatic music 2558:Tristan und Isolde 2128:The Nibelungenlied 1766:The New York Times 1650:Holman, pp. 373–76 1578:Newman, pp. 518–59 1253:Cooke (1979), p. 7 1230:Holman, pp. 173–75 955:Vienna State Opera 901: 834: 762: 595: 557: 513:the rainbow bridge 441: 433:the rainbow bridge 380:—specifically the 279: 221:encounter certain 55: 4397:Nixies (folklore) 4334: 4333: 4219:Xaver Hohenleiter 4163:Till Eulenspiegel 4030:Konrad Baumgarten 4016:Klaus Störtebeker 3890:Dietrich von Bern 3508:Feuermann (ghost) 3265: 3264: 3081: 3080: 2905:Bayreuth Festival 2881:Bayreuth Festival 2876: 2875: 2851: 2850: 2844: 2843:(1858; text only) 2834: 2833:(1850; text only) 2824: 2814: 2804: 2791:Unfinished operas 2786: 2785: 2662: 2652: 2647:Wesendonck Lieder 2642: 2641:(1844, rev. 1855) 2632: 2622: 2611: 2596: 2595: 2552: 2551: 2473: 2472: 2422: 2421: 2317:978-0-7145-4078-8 2269:978-0-486-21707-9 2243:978-0-7148-3650-8 2224:978-0-674-37299-3 2198:978-0-575-05380-9 2179:978-0-7145-4078-8 2155:. London: Putnam. 2082:978-0-19-816190-5 2039:978-1-57467-070-7 2020:978-0-14-021168-9 2001:978-0-19-923854-5 1942:978-0-19-315318-9 1896:Sabor, pp. 228–29 1634:, Act III Scene I 1308:, Act III Scene I 1216:, Scene 1 (p. 26) 1010:Explanatory notes 920:Royal Opera House 694:Scene 3 a minor 304:Siegfried's Death 273:illustrations by 16:(Redirected from 4409: 4327: 4320: 4302: 4295: 4288: 4281: 4274: 4267: 4260: 4253: 4246: 4239: 4221: 4214: 4207: 4200: 4193: 4186: 4179: 4172: 4170:Volker von Alzey 4165: 4158: 4151: 4144: 4137: 4130: 4123: 4116: 4109: 4102: 4095: 4088: 4081: 4074: 4072:Otto the Younger 4067: 4060: 4053: 4046: 4039: 4032: 4025: 4018: 4011: 4004: 3997: 3990: 3983: 3976: 3969: 3962: 3955: 3948: 3941: 3934: 3927: 3920: 3913: 3906: 3899: 3892: 3885: 3878: 3871: 3869:Baron Munchausen 3864: 3857: 3850: 3848:Albrecht Gessler 3832: 3825: 3818: 3816:Will-o'-the-wisp 3811: 3804: 3797: 3790: 3783: 3776: 3769: 3762: 3755: 3748: 3741: 3734: 3727: 3720: 3713: 3706: 3699: 3697:Nixie (folklore) 3692: 3685: 3678: 3671: 3664: 3657: 3650: 3643: 3636: 3629: 3622: 3615: 3608: 3601: 3594: 3587: 3580: 3578:Jack o' the bowl 3573: 3566: 3559: 3552: 3545: 3538: 3531: 3524: 3517: 3510: 3503: 3496: 3489: 3482: 3475: 3468: 3461: 3454: 3447: 3445:Dwarf (folklore) 3440: 3433: 3431:Drak (mythology) 3426: 3419: 3412: 3405: 3398: 3391: 3384: 3377: 3370: 3363: 3356: 3349: 3342: 3335: 3328: 3292: 3285: 3278: 3269: 3255: 3254: 3245: 3235: 3234: 3086:Named for Wagner 3055:Film adaptations 3052: 2983:Siegfried Wagner 2968:Katharina Wagner 2853: 2842: 2832: 2822: 2812: 2802: 2788: 2752: 2660: 2650: 2640: 2630: 2620: 2609: 2589: 2577: 2565: 2545: 2533: 2521: 2509: 2494: 2482: 2475: 2466: 2454: 2442: 2424: 2406:Das Liebesverbot 2388: 2352: 2345: 2338: 2329: 2321: 2294: 2288: 2273: 2261: 2247: 2228: 2216: 2202: 2183: 2156: 2142: 2117: 2104: 2095: 2086: 2061: 2043: 2024: 2005: 1982:Edwards, Cyril ( 1977: 1975: 1964: 1955: 1946: 1915: 1912: 1906: 1903: 1897: 1894: 1888: 1887: 1885: 1883: 1878:on 25 April 2010 1874:. Archived from 1863: 1857: 1854: 1848: 1847: 1845: 1843: 1828: 1822: 1819: 1813: 1810: 1804: 1803: 1801: 1799: 1783: 1777: 1776: 1774: 1772: 1753: 1747: 1744: 1738: 1731: 1725: 1722: 1716: 1713: 1707: 1706: 1704: 1702: 1687: 1681: 1678: 1672: 1669: 1660: 1657: 1651: 1648: 1635: 1624: 1618: 1612: 1606: 1603: 1597: 1594: 1588: 1585: 1579: 1576: 1570: 1567: 1561: 1558: 1552: 1549: 1543: 1540: 1534: 1531: 1525: 1522: 1516: 1513: 1507: 1504: 1498: 1495: 1484: 1481: 1475: 1468: 1459: 1456: 1450: 1443: 1434: 1431: 1425: 1422: 1416: 1409: 1403: 1396: 1390: 1383: 1377: 1370: 1364: 1361: 1355: 1349: 1343: 1336: 1330: 1327: 1321: 1315: 1309: 1303: 1297: 1290: 1284: 1278: 1272: 1269: 1263: 1260: 1254: 1251: 1245: 1242: 1231: 1228: 1217: 1210: 1204: 1201: 1190: 1187: 1181: 1178: 1172: 1169: 1163: 1160: 1151: 1148: 1142: 1139: 1133: 1130: 1124: 1121: 1115: 1114:Lachmann, p. 179 1112: 1103: 1100: 1091: 1088: 1079: 1076: 1055: 1052: 1046: 1039: 1033: 1020: 821:anchored in the 779:Second World War 616:Zurück vom Ring! 357:Prometheus Bound 354:, including his 313:Wasserjungfrauen 21: 4417: 4416: 4412: 4411: 4410: 4408: 4407: 4406: 4352:Fictional trios 4337: 4336: 4335: 4330: 4323: 4318:German folklore 4316: 4305: 4300:Walpurgis Night 4298: 4291: 4284: 4277: 4270: 4263: 4256: 4249: 4242: 4235: 4224: 4217: 4210: 4203: 4196: 4189: 4182: 4175: 4168: 4161: 4154: 4147: 4140: 4133: 4126: 4119: 4112: 4105: 4098: 4091: 4084: 4077: 4070: 4063: 4056: 4049: 4042: 4035: 4028: 4021: 4014: 4007: 4000: 3993: 3988:Hans von Trotha 3986: 3979: 3972: 3965: 3958: 3951: 3944: 3937: 3930: 3923: 3916: 3909: 3902: 3895: 3888: 3881: 3874: 3867: 3860: 3853: 3846: 3835: 3828: 3821: 3814: 3807: 3800: 3793: 3786: 3779: 3772: 3765: 3758: 3751: 3744: 3737: 3730: 3723: 3716: 3709: 3702: 3695: 3688: 3681: 3674: 3667: 3660: 3655:Mare (folklore) 3653: 3646: 3639: 3632: 3625: 3618: 3613:Knecht Ruprecht 3611: 3604: 3597: 3590: 3583: 3576: 3569: 3562: 3555: 3548: 3543:Heinzelmännchen 3541: 3534: 3527: 3520: 3513: 3506: 3499: 3492: 3485: 3478: 3471: 3464: 3457: 3450: 3443: 3436: 3429: 3422: 3415: 3408: 3401: 3396:Buschgroßmutter 3394: 3387: 3380: 3373: 3366: 3359: 3352: 3345: 3338: 3331: 3324: 3313: 3301: 3299:German folklore 3296: 3266: 3261: 3223: 3137:Gesamtkunstwerk 3117: 3103:Wagner (crater) 3077: 3050: 3007: 2998:Wolfgang Wagner 2993:Winifred Wagner 2948:Eva Chamberlain 2929: 2920:Jahrhundertring 2900:Bayreuth Circle 2872: 2847: 2782: 2743: 2738:Opera and Drama 2669: 2657:Siegfried Idyll 2592: 2548: 2538:Götterdämmerung 2469: 2427:Romantic operas 2418: 2384:Complete operas 2379: 2361: 2356: 2324: 2318: 2297: 2276: 2270: 2250: 2244: 2231: 2225: 2205: 2199: 2186: 2180: 2159: 2147: 2139: 2120: 2107: 2098: 2089: 2083: 2073:Clarendon Press 2064: 2046: 2040: 2027: 2021: 2008: 2002: 1994:. Oxford: OUP. 1980: 1967: 1958: 1949: 1943: 1927: 1918: 1913: 1909: 1904: 1900: 1895: 1891: 1881: 1879: 1866:Gary Hickling. 1865: 1864: 1860: 1855: 1851: 1841: 1839: 1830: 1829: 1825: 1820: 1816: 1811: 1807: 1797: 1795: 1792:Daily Telegraph 1785: 1784: 1780: 1770: 1768: 1755: 1754: 1750: 1745: 1741: 1732: 1728: 1723: 1719: 1714: 1710: 1700: 1698: 1689: 1688: 1684: 1679: 1675: 1670: 1663: 1658: 1654: 1649: 1638: 1632:Götterdämmerung 1625: 1621: 1613: 1609: 1604: 1600: 1595: 1591: 1586: 1582: 1577: 1573: 1568: 1564: 1559: 1555: 1550: 1546: 1541: 1537: 1532: 1528: 1523: 1519: 1514: 1510: 1506:Osborne, p. 253 1505: 1501: 1496: 1487: 1483:Holman, p. 102 1482: 1478: 1472:Götterdämmerung 1469: 1462: 1457: 1453: 1447:Götterdämmerung 1444: 1437: 1432: 1428: 1423: 1419: 1410: 1406: 1397: 1393: 1384: 1380: 1371: 1367: 1362: 1358: 1352:Götterdämmerung 1350: 1346: 1337: 1333: 1328: 1324: 1318:Götterdämmerung 1316: 1312: 1306:Götterdämmerung 1304: 1300: 1291: 1287: 1279: 1275: 1270: 1266: 1261: 1257: 1252: 1248: 1243: 1234: 1229: 1220: 1211: 1207: 1202: 1193: 1188: 1184: 1179: 1175: 1170: 1166: 1161: 1154: 1149: 1145: 1140: 1136: 1131: 1127: 1122: 1118: 1113: 1106: 1101: 1094: 1089: 1082: 1077: 1073: 1064: 1059: 1058: 1053: 1049: 1040: 1036: 1021: 1017: 1012: 999: 874:Götterdämmerung 866:Patrice Chéreau 803:stage machinery 750: 742:Götterdämmerung 731:Götterdämmerung 700:Götterdämmerung 655:Götterdämmerung 645:throughout the 624: 607: 580: 571: 542: 537: 525:Götterdämmerung 435:into Valhalla. 425: 378:Norse mythology 340:Greek mythology 309:Götterdämmerung 294:Götterdämmerung 175: 154:Götterdämmerung 73:'s opera cycle 35: 28: 23: 22: 15: 12: 11: 5: 4415: 4413: 4405: 4404: 4399: 4394: 4392:Richard Wagner 4389: 4384: 4379: 4374: 4369: 4364: 4359: 4354: 4349: 4339: 4338: 4332: 4331: 4329: 4328: 4325:Swiss folklore 4321: 4313: 4311: 4307: 4306: 4304: 4303: 4296: 4289: 4282: 4275: 4268: 4265:Nibelungenlied 4261: 4258:Gespensterbuch 4254: 4247: 4244:Deutsche Sagen 4240: 4232: 4230: 4226: 4225: 4223: 4222: 4215: 4208: 4201: 4194: 4187: 4180: 4173: 4166: 4159: 4152: 4145: 4138: 4131: 4128:Schinderhannes 4124: 4117: 4110: 4103: 4096: 4089: 4082: 4075: 4068: 4061: 4054: 4047: 4040: 4033: 4026: 4019: 4012: 4005: 3998: 3991: 3984: 3981:Hans von Sagan 3977: 3970: 3967:Hagen (legend) 3963: 3956: 3949: 3942: 3935: 3928: 3921: 3914: 3907: 3900: 3893: 3886: 3879: 3872: 3865: 3858: 3851: 3843: 3841: 3837: 3836: 3834: 3833: 3826: 3819: 3812: 3805: 3798: 3791: 3784: 3777: 3770: 3763: 3756: 3749: 3742: 3735: 3728: 3721: 3714: 3707: 3704:Ork (folklore) 3700: 3693: 3686: 3679: 3672: 3665: 3662:Mephistopheles 3658: 3651: 3644: 3637: 3630: 3623: 3616: 3609: 3602: 3595: 3588: 3581: 3574: 3567: 3560: 3553: 3546: 3539: 3532: 3525: 3518: 3511: 3504: 3497: 3490: 3483: 3476: 3469: 3462: 3459:Ekke Nekkepenn 3455: 3448: 3441: 3434: 3427: 3420: 3413: 3406: 3399: 3392: 3385: 3378: 3371: 3364: 3357: 3350: 3343: 3336: 3333:Alp (folklore) 3329: 3321: 3319: 3315: 3314: 3306: 3303: 3302: 3297: 3295: 3294: 3287: 3280: 3272: 3263: 3262: 3260: 3259: 3249: 3239: 3228: 3225: 3224: 3222: 3221: 3216: 3211: 3206: 3201: 3196: 3191: 3184: 3179: 3172: 3170:Parsifal bells 3167: 3160: 3155: 3150: 3145: 3140: 3133: 3125: 3123: 3119: 3118: 3116: 3115: 3110: 3105: 3100: 3095: 3089: 3087: 3083: 3082: 3079: 3078: 3076: 3075: 3067: 3058: 3056: 3049: 3048: 3040: 3036:Wagner's Dream 3032: 3024: 3015: 3013: 3009: 3008: 3006: 3005: 3000: 2995: 2990: 2988:Wieland Wagner 2985: 2980: 2975: 2970: 2965: 2960: 2955: 2950: 2945: 2943:Isolde Beidler 2939: 2937: 2931: 2930: 2928: 2927: 2922: 2917: 2912: 2907: 2902: 2897: 2895:Bayreuth canon 2892: 2884: 2882: 2878: 2877: 2874: 2873: 2871: 2870: 2865: 2859: 2857: 2849: 2848: 2846: 2845: 2835: 2825: 2815: 2805: 2794: 2792: 2784: 2783: 2781: 2780: 2773: 2766: 2758: 2756: 2755:Opera excerpts 2749: 2745: 2744: 2742: 2741: 2734: 2727: 2720: 2713: 2706: 2699: 2692: 2685: 2677: 2675: 2671: 2670: 2668: 2663: 2653: 2643: 2637:Faust Overture 2633: 2623: 2612: 2604: 2602: 2598: 2597: 2594: 2593: 2591: 2590: 2578: 2566: 2553: 2550: 2549: 2547: 2546: 2534: 2522: 2510: 2497: 2495: 2479: 2471: 2470: 2468: 2467: 2455: 2443: 2430: 2428: 2420: 2419: 2417: 2416: 2409: 2402: 2394: 2392: 2385: 2381: 2380: 2378: 2377: 2372: 2366: 2363: 2362: 2359:Richard Wagner 2357: 2355: 2354: 2347: 2340: 2332: 2323: 2322: 2316: 2295: 2274: 2268: 2248: 2242: 2229: 2223: 2203: 2197: 2184: 2178: 2157: 2149:Newman, Ernest 2145: 2144: 2143: 2137: 2121:Mowatt, D.G. ( 2108:Mowatt, D.G. ( 2105: 2096: 2087: 2081: 2062: 2050:, ed. (1841). 2048:Lachmann, Karl 2044: 2038: 2025: 2019: 2006: 2000: 1978: 1965: 1956: 1947: 1941: 1924: 1917: 1916: 1907: 1898: 1889: 1858: 1856:Randel, p. 210 1849: 1823: 1821:Newman, p. 474 1814: 1805: 1778: 1748: 1739: 1726: 1724:Holman, p. 381 1717: 1708: 1696:New York Times 1682: 1680:Holman, p. 390 1673: 1661: 1652: 1636: 1626:See libretto, 1619: 1607: 1605:Newman, p. 655 1598: 1596:Newman, p. 629 1589: 1580: 1571: 1562: 1553: 1544: 1542:Holman, p. 229 1535: 1526: 1517: 1508: 1499: 1497:Holman, p. 176 1485: 1476: 1460: 1451: 1435: 1426: 1417: 1404: 1391: 1378: 1365: 1356: 1344: 1331: 1322: 1310: 1298: 1285: 1273: 1271:Holman, p. 175 1264: 1255: 1246: 1232: 1218: 1205: 1203:Sabor pp. 91–2 1191: 1182: 1173: 1164: 1162:Newman, p. 464 1152: 1143: 1134: 1125: 1116: 1104: 1092: 1090:Holman, p. 174 1080: 1078:Gutman, p. 634 1070: 1063: 1060: 1057: 1056: 1047: 1043:Nibelungenlied 1034: 1026:, mod. German 1014: 1013: 1011: 1008: 1007: 1006: 998: 995: 943:Helga Dernesch 927:Pepper's ghost 864:, directed by 749: 746: 623: 620: 606: 603: 593:, c. 1875–1891 579: 576: 570: 567: 553:Arthur Rackham 541: 538: 536: 533: 519:at the end of 424: 421: 401:nine daughters 388:(similar to a 275:Arthur Rackham 211:Nibelungenlied 207:Nibelungenlied 174: 171: 111:Nibelungenlied 71:Richard Wagner 61:are the three 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 4414: 4403: 4400: 4398: 4395: 4393: 4390: 4388: 4385: 4383: 4380: 4378: 4375: 4373: 4370: 4368: 4365: 4363: 4360: 4358: 4355: 4353: 4350: 4348: 4345: 4344: 4342: 4326: 4322: 4319: 4315: 4314: 4312: 4308: 4301: 4297: 4294: 4290: 4287: 4283: 4280: 4276: 4273: 4269: 4266: 4262: 4259: 4255: 4252: 4248: 4245: 4241: 4238: 4234: 4233: 4231: 4227: 4220: 4216: 4213: 4209: 4206: 4202: 4199: 4195: 4192: 4188: 4185: 4181: 4178: 4174: 4171: 4167: 4164: 4160: 4157: 4153: 4150: 4146: 4143: 4142:Stauffacherin 4139: 4136: 4132: 4129: 4125: 4122: 4118: 4115: 4111: 4108: 4104: 4101: 4100:Princess Ilse 4097: 4094: 4090: 4087: 4083: 4080: 4076: 4073: 4069: 4066: 4062: 4059: 4055: 4052: 4048: 4045: 4041: 4038: 4034: 4031: 4027: 4024: 4020: 4017: 4013: 4010: 4006: 4003: 3999: 3996: 3992: 3989: 3985: 3982: 3978: 3975: 3971: 3968: 3964: 3961: 3957: 3954: 3950: 3947: 3943: 3940: 3936: 3933: 3929: 3926: 3922: 3919: 3915: 3912: 3908: 3905: 3901: 3898: 3894: 3891: 3887: 3884: 3880: 3877: 3873: 3870: 3866: 3863: 3859: 3856: 3852: 3849: 3845: 3844: 3842: 3838: 3831: 3827: 3824: 3820: 3817: 3813: 3810: 3806: 3803: 3799: 3796: 3792: 3789: 3785: 3782: 3778: 3775: 3771: 3768: 3764: 3761: 3757: 3754: 3750: 3747: 3743: 3740: 3736: 3733: 3729: 3726: 3722: 3719: 3718:Petermännchen 3715: 3712: 3708: 3705: 3701: 3698: 3694: 3691: 3687: 3684: 3680: 3677: 3673: 3670: 3666: 3663: 3659: 3656: 3652: 3649: 3645: 3642: 3638: 3635: 3631: 3628: 3624: 3621: 3617: 3614: 3610: 3607: 3603: 3600: 3599:King Goldemar 3596: 3593: 3589: 3586: 3585:Klabautermann 3582: 3579: 3575: 3572: 3568: 3565: 3561: 3558: 3554: 3551: 3547: 3544: 3540: 3537: 3533: 3530: 3526: 3523: 3519: 3516: 3512: 3509: 3505: 3502: 3498: 3495: 3491: 3488: 3484: 3481: 3477: 3474: 3470: 3467: 3463: 3460: 3456: 3453: 3449: 3446: 3442: 3439: 3435: 3432: 3428: 3425: 3421: 3418: 3414: 3411: 3407: 3404: 3400: 3397: 3393: 3390: 3386: 3383: 3379: 3376: 3372: 3369: 3365: 3362: 3358: 3355: 3351: 3348: 3344: 3341: 3337: 3334: 3330: 3327: 3323: 3322: 3320: 3316: 3312: 3311: 3304: 3300: 3293: 3288: 3286: 3281: 3279: 3274: 3273: 3270: 3258: 3250: 3248: 3244: 3240: 3238: 3230: 3229: 3226: 3220: 3217: 3215: 3212: 3210: 3207: 3205: 3202: 3200: 3199:Controversies 3197: 3195: 3194:Tristan chord 3192: 3190: 3189: 3185: 3183: 3180: 3178: 3177: 3173: 3171: 3168: 3166: 3165: 3161: 3159: 3156: 3154: 3151: 3149: 3146: 3144: 3141: 3139: 3138: 3134: 3132: 3131: 3127: 3126: 3124: 3120: 3114: 3111: 3109: 3106: 3104: 3101: 3099: 3096: 3094: 3091: 3090: 3088: 3084: 3074: 3072: 3068: 3066: 3064: 3060: 3059: 3057: 3053: 3047: 3045: 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2544: 2540: 2539: 2535: 2532: 2528: 2527: 2523: 2520: 2516: 2515: 2511: 2508: 2504: 2503: 2502:Das Rheingold 2499: 2498: 2496: 2493: 2489: 2488: 2483: 2480: 2476: 2465: 2461: 2460: 2456: 2453: 2449: 2448: 2444: 2441: 2437: 2436: 2432: 2431: 2429: 2425: 2415: 2414: 2410: 2408: 2407: 2403: 2401: 2400: 2396: 2395: 2393: 2389: 2386: 2382: 2376: 2373: 2371: 2368: 2367: 2364: 2360: 2353: 2348: 2346: 2341: 2339: 2334: 2333: 2330: 2326: 2319: 2313: 2309: 2305: 2301: 2296: 2292: 2287: 2286: 2280: 2275: 2271: 2265: 2260: 2259: 2253: 2252:Shaw, Bernard 2249: 2245: 2239: 2235: 2230: 2226: 2220: 2215: 2214: 2208: 2204: 2200: 2194: 2190: 2185: 2181: 2175: 2171: 2167: 2163: 2158: 2154: 2153:Wagner Nights 2150: 2146: 2140: 2138:9780486414140 2134: 2130: 2129: 2124: 2119: 2118: 2115: 2111: 2106: 2102: 2097: 2093: 2088: 2084: 2078: 2074: 2070: 2069: 2063: 2059: 2055: 2054: 2049: 2045: 2041: 2035: 2031: 2026: 2022: 2016: 2012: 2007: 2003: 1997: 1993: 1992: 1987: 1985: 1979: 1974: 1973: 1966: 1962: 1957: 1953: 1948: 1944: 1938: 1934: 1930: 1929:Cooke, Deryck 1926: 1925: 1923: 1922: 1911: 1908: 1905:Sabor, p. 230 1902: 1899: 1893: 1890: 1877: 1873: 1869: 1862: 1859: 1853: 1850: 1838:on 9 May 2008 1837: 1833: 1827: 1824: 1818: 1815: 1809: 1806: 1793: 1789: 1782: 1779: 1767: 1763: 1761: 1760:Das Rheingold 1752: 1749: 1743: 1740: 1736: 1730: 1727: 1721: 1718: 1712: 1709: 1697: 1693: 1686: 1683: 1677: 1674: 1668: 1666: 1662: 1656: 1653: 1647: 1645: 1643: 1641: 1637: 1633: 1629: 1628:Das Rheingold 1623: 1620: 1616: 1615:Das Rheingold 1611: 1608: 1602: 1599: 1593: 1590: 1584: 1581: 1575: 1572: 1566: 1563: 1557: 1554: 1548: 1545: 1539: 1536: 1530: 1527: 1521: 1518: 1512: 1509: 1503: 1500: 1494: 1492: 1490: 1486: 1480: 1477: 1473: 1467: 1465: 1461: 1458:Holman, p. 98 1455: 1452: 1448: 1442: 1440: 1436: 1433:Holman, p. 56 1430: 1427: 1424:Holman, p. 49 1421: 1418: 1414: 1413:Das Rheingold 1408: 1405: 1401: 1400:Das Rheingold 1395: 1392: 1388: 1387:Das Rheingold 1382: 1379: 1375: 1374:Das Rheingold 1369: 1366: 1360: 1357: 1353: 1348: 1345: 1341: 1340:Das Rheingold 1335: 1332: 1326: 1323: 1319: 1314: 1311: 1307: 1302: 1299: 1295: 1294:Das Rheingold 1289: 1286: 1282: 1281:Das Rheingold 1277: 1274: 1268: 1265: 1259: 1256: 1250: 1247: 1244:Spencer p. 31 1241: 1239: 1237: 1233: 1227: 1225: 1223: 1219: 1215: 1214:Das Rheingold 1209: 1206: 1200: 1198: 1196: 1192: 1186: 1183: 1177: 1174: 1168: 1165: 1159: 1157: 1153: 1147: 1144: 1138: 1135: 1129: 1126: 1120: 1117: 1111: 1109: 1105: 1099: 1097: 1093: 1087: 1085: 1081: 1075: 1072: 1069: 1068: 1061: 1051: 1048: 1044: 1038: 1035: 1031: 1030: 1025: 1019: 1016: 1009: 1004: 1001: 1000: 996: 994: 992: 988: 984: 980: 976: 975:Gwyneth Jones 972: 968: 964: 960: 956: 952: 948: 947:Lotte Lehmann 944: 940: 936: 935:Lilli Lehmann 930: 928: 924: 923:Covent Garden 921: 917: 913: 909: 905: 898: 897:Lilli Lehmann 894: 889: 885: 883: 879: 875: 871: 867: 863: 858: 855: 851: 847: 843: 842:Adolphe Appia 839: 830: 826: 824: 820: 816: 813: 809: 804: 799: 797: 792: 788: 784: 783:Cosima Wagner 780: 776: 771: 767: 759: 754: 747: 745: 743: 738: 736: 732: 728: 724: 720: 716: 715:Ernest Newman 712: 711:Das Rheingold 708: 707:Das Rheingold 703: 701: 697: 693: 692:Das Rheingold 688: 684: 680: 676: 675:Das Rheingold 671: 669: 665: 661: 656: 652: 651:Das Rheingold 648: 644: 640: 636: 635:Das Rheingold 631: 629: 619: 617: 612: 604: 602: 600: 592: 588: 584: 577: 575: 568: 566: 563: 554: 550: 546: 539: 534: 532: 528: 526: 522: 521:Das Rheingold 518: 514: 509: 507: 503: 499: 495: 491: 487: 483: 478: 476: 475:Wassergezücht 472: 468: 463: 459: 455: 451: 447: 438: 437:Das Rheingold 434: 429: 422: 420: 418: 414: 408: 406: 402: 398: 395: 391: 387: 383: 379: 375: 371: 367: 363: 359: 358: 353: 349: 348:Das Rheingold 345: 341: 337: 332: 330: 326: 322: 318: 314: 310: 306: 305: 300: 296: 295: 290: 289: 288:Das Rheingold 284: 276: 272: 268: 267:Das Rheingold 263: 259: 257: 253: 249: 248: 242: 240: 236: 232: 229:; mod. Ger.: 228: 224: 220: 216: 212: 208: 204: 200: 196: 195:Water-sprites 192: 191: 186: 185: 180: 177:Alone of the 172: 170: 167: 162: 160: 156: 155: 150: 149: 148:Das Rheingold 143: 140: 136: 131: 129: 125: 121: 117: 116:water sprites 113: 112: 107: 106: 102: 98: 94: 90: 86: 82: 78: 77: 72: 68: 64: 60: 52: 51:H. A. Guerber 48: 44: 39: 33: 19: 4212:Wolfdietrich 4198:William Tell 4121:Schildbürger 3830:Wolpertinger 3795:Wiedergänger 3788:Weiße Frauen 3739:Rhinemaidens 3738: 3487:Ewiger Jäger 3452:Easter Bunny 3424:Doppelgänger 3308:Folklore of 3307: 3209:Museo Wagner 3186: 3182:Rhinemaidens 3181: 3174: 3162: 3135: 3128: 3070: 3062: 3043: 3034: 3027: 3020:Wagner Dream 3018: 2973:Minna Wagner 2958:Ludwig Geyer 2887: 2863:Holztrompete 2837: 2827: 2817: 2809:Die Hochzeit 2807: 2797: 2736: 2722: 2715: 2666:Kaisermarsch 2655: 2645: 2635: 2625: 2615: 2580: 2568: 2556: 2536: 2524: 2512: 2500: 2485: 2478:Music dramas 2457: 2445: 2433: 2411: 2404: 2397: 2325: 2303: 2284: 2278: 2257: 2233: 2212: 2188: 2165: 2152: 2127: 2122: 2113: 2109: 2100: 2091: 2067: 2052: 2029: 2010: 1990: 1983: 1971: 1960: 1951: 1932: 1921:Bibliography 1920: 1919: 1910: 1901: 1892: 1880:. Retrieved 1876:the original 1861: 1852: 1840:. Retrieved 1836:the original 1826: 1817: 1808: 1796:. Retrieved 1791: 1781: 1769:. 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Retrieved 1695: 1685: 1676: 1671:Sabor p. 172 1655: 1631: 1627: 1622: 1614: 1610: 1601: 1592: 1583: 1574: 1565: 1556: 1547: 1538: 1529: 1520: 1511: 1502: 1479: 1471: 1454: 1446: 1429: 1420: 1412: 1407: 1399: 1394: 1386: 1381: 1373: 1368: 1359: 1351: 1347: 1339: 1334: 1325: 1317: 1313: 1305: 1301: 1293: 1288: 1280: 1276: 1267: 1258: 1249: 1213: 1208: 1185: 1176: 1167: 1146: 1141:Magee, p. 66 1137: 1128: 1119: 1074: 1066: 1065: 1050: 1042: 1037: 1027: 1023: 1018: 983:Helen Donath 959:Sena Jurinac 931: 915: 912:Keith Warner 907: 902: 892: 881: 873: 861: 859: 849: 845: 835: 819:bungee cords 814: 800: 795: 790: 774: 765: 763: 757: 741: 739: 734: 730: 722: 710: 706: 704: 699: 691: 682: 678: 674: 672: 668:Deryck Cooke 663: 659: 654: 650: 646: 634: 632: 627: 625: 615: 608: 596: 572: 558: 529: 524: 520: 510: 505: 501: 493: 489: 485: 481: 479: 474: 457: 453: 442: 436: 417:Rheintöchter 416: 409: 404: 381: 355: 347: 333: 321:Rheintöchter 320: 312: 308: 302: 292: 286: 282: 280: 270: 266: 245: 243: 230: 226: 210: 206: 202: 198: 188: 182: 178: 176: 165: 163: 152: 146: 144: 134: 132: 109: 103: 96: 92: 88: 84: 80: 74: 67:Rheintöchter 66: 63:water-nymphs 59:Rhinemaidens 58: 56: 46: 4079:Peter Klaus 3823:Witte Wiwer 3753:Santa Claus 3725:Poltergeist 3669:Moss people 3606:King Laurin 3515:Feldgeister 3466:Elwetritsch 3257:WikiProject 3113:3992 Wagner 3073:(1982 film) 3065:(1904 film) 3046:(1986 film) 3039:(2012 film) 3031:(1983 film) 2978:Nike Wagner 2868:Wagner tuba 2748:Other opera 2514:Die Walküre 2391:Early works 1812:Sabor p.192 1746:Sabor p.204 1659:Sabor p.167 1630:, Scene 1, 1262:Shaw, p. 11 979:Georg Solti 963:Furtwängler 660:Die Walküre 382:Poetic Edda 256:Großmehring 254:, although 247:Þiðrekssaga 184:Poetic Edda 4341:Categories 4272:Freischütz 4149:Tannhäuser 4002:Hildebrand 3960:Gundomar I 3918:Friar Rush 3767:Tatzelwurm 3732:Rasselbock 3683:Nachzehrer 3676:Nachtkrapp 3648:Lutzelfrau 3557:Hinzelmann 3522:Frau Holle 3410:Christkind 3403:Changeling 3368:Belsnickel 3158:Musikdrama 2856:Inventions 2839:Die Sieger 2724:Mein Leben 2447:Tannhäuser 2281:) (1962). 2125:) (2001). 2112:) (1962). 2071:. Oxford: 1515:North p.16 1062:References 987:Edda Moser 971:Lucia Popp 904:Peter Hall 719:fortissimo 639:pentatonic 611:Brünnhilde 506:Weihwasser 366:Prometheus 344:Hesperides 329:Brünnhilde 213:narrative 190:Prose Edda 159:Brünnhilde 89:Flosshilde 4044:Lohengrin 3802:Wild Hunt 3592:Klagmuhme 3375:Bergmönch 3347:Aufhocker 3219:Wahnfried 3148:Leitmotif 3044:Wahnfried 2777:Liebestod 2526:Siegfried 2459:Lohengrin 1842:9 October 1617:, Scene 1 1283:, Scene I 1067:Citations 895:included 882:Rheingold 823:fly space 787:Siegfried 768:, at the 723:Siegfried 683:Rheingold 664:Siegfried 599:Sun-woman 587:Siegfried 498:Nietzsche 490:Rheingold 446:contralto 352:Aeschylus 197:(German: 101:Old Norse 93:Floßhilde 85:Wellgunde 18:Wellgunde 4310:See also 4058:Nibelung 3974:Hannikel 3876:Brunhild 3809:Wild man 3746:Rübezahl 3634:Lindworm 3536:Heimchen 3473:Erdhenne 3389:Bogeyman 3382:Bieresel 3361:Beerwolf 3340:Askafroa 3326:Alberich 3237:Category 3071:Parsifal 3063:Parsifal 2674:Writings 2618:Overture 2582:Parsifal 2399:Die Feen 2254:(1967). 2151:(1949). 1988:(2010). 1931:(1979). 1794:. London 1771:29 April 1758:"Opera: 1701:29 April 997:See also 854:Wolfgang 844:, whose 808:Winifred 748:On stage 562:Alberich 549:Alberich 517:Valhalla 502:Weiawaga 372:sea god 362:Oceanids 325:Alberich 299:libretto 231:Meerweib 223:mermaids 124:mermaids 81:Woglinde 3946:Gunther 3711:Perchta 3690:Nis Puk 3641:Lorelei 3627:Krampus 3571:Irrwurz 3564:Hödekin 3494:Fänggen 3480:Erlking 3354:Bahkauv 3122:Related 3023:(opera) 2717:Leubald 2616:Polonia 1798:9 April 1474:, p. 91 1449:, p. 75 1342:, p. 85 991:Karajan 838:Wieland 812:Chicago 643:motives 374:Oceanus 336:Lorelei 219:Gunther 173:Origins 126:of the 53:, 1905. 4382:Naiads 4293:Vineta 4205:Witege 4135:Sigurd 4065:Ortnit 3953:Gudrun 3862:Attila 3840:People 3760:Schrat 3620:Kobold 3550:Hemann 3501:Fasolt 3318:Beings 3028:Wagner 2823:(1838) 2813:(1832) 2803:(1830) 2661:(1870) 2651:(1858) 2631:(1843) 2621:(1836) 2610:(1832) 2413:Rienzi 2314: 2279:trans. 2266: 2240: 2221: 2195: 2176: 2135: 2123:trans. 2110:trans. 2079: 2036: 2017: 1998: 1984:trans. 1939: 1882:5 June 1470:Mann, 1445:Mann, 1411:Mann, 1398:Mann, 1385:Mann. 1372:Mann, 1338:Mann, 1292:Mann, 981:, and 727:Fafner 471:Fricka 392:) sea 386:jötunn 235:Danube 227:merwîp 179:Ring's 128:Danube 120:nixies 4387:Rhine 3904:Faust 3781:Uhaml 3774:Türst 3529:Gütel 3438:Drude 3247:Audio 2308:31–38 2293:–289. 2170:15–30 1415:p. 20 1402:p. 18 1389:p. 17 1376:p. 16 1296:p. 44 1029:Muhme 1024:muome 687:minor 515:into 450:mezzo 413:Wotan 405:Welle 390:giant 384:—the 376:, in 370:titan 317:Rhine 239:Etzel 215:Hagen 199:Nixen 139:Rhine 122:) or 105:Eddas 43:Rhine 2312:ISBN 2264:ISBN 2238:ISBN 2219:ISBN 2193:ISBN 2174:ISBN 2133:ISBN 2077:ISBN 2034:ISBN 2015:ISBN 1996:ISBN 1937:ISBN 1884:2010 1844:2008 1800:2008 1773:2008 1703:2008 989:for 985:and 977:for 973:and 965:and 961:for 916:Ring 908:Ring 893:Ring 862:Ring 850:Ring 815:Ring 796:Ring 791:Ring 766:Ring 758:Ring 679:Ring 647:Ring 628:Ring 494:Ring 482:Ring 467:Loge 458:Ring 399:has 397:Ægir 283:Ring 271:Ring 217:and 203:Ring 166:Ring 135:Ring 97:Ring 87:and 57:The 2291:288 2058:197 967:RAI 696:key 448:or 394:god 301:of 187:or 49:by 4343:: 2310:. 2302:. 2172:. 2164:. 2075:. 1870:. 1790:. 1764:. 1694:. 1664:^ 1639:^ 1488:^ 1463:^ 1438:^ 1235:^ 1221:^ 1194:^ 1155:^ 1107:^ 1095:^ 1083:^ 993:. 969:, 331:. 130:. 83:, 3291:e 3284:t 3277:v 2779:" 2775:" 2772:" 2768:" 2765:" 2761:" 2733:" 2729:" 2712:" 2708:" 2705:" 2701:" 2698:" 2694:" 2691:" 2687:" 2684:" 2680:" 2351:e 2344:t 2337:v 2320:. 2272:. 2246:. 2227:. 2201:. 2182:. 2141:. 2085:. 2060:. 2042:. 2023:. 2004:. 1986:) 1945:. 1886:. 1846:. 1802:. 1775:. 1705:. 773:( 555:) 277:. 118:( 91:( 65:( 34:. 20:)

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