Rhinemaidens - Knowledge

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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.

590:" 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. 520:

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.

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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!" (

2576: 2564: 2552: 2532: 2520: 2508: 2496: 2481: 2453: 2441: 2429: 417: 534: 251: 150:'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". 829:, 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 865:, 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 733:, 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. 766:). 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 453:

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,

914:, 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 27: 512:, 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 316:'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 497:, 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. 130:

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.

607:), 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. 548:

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

312:), 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— 646:

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.

3298: 230:'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. 3271: 190:) 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 586:

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

226:. 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 821:

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.

3235: 327:, 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 799:, 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 687:

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

630:, 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 918:

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.

1746: 857:, 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 239:, it occurred at the (non-existent) confluence of the Danube and the Rhine. Möringen, where the doomed warriors subsequently ferried across may be 1776: 4335: 3141: 718:'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 3131: 2358: 2563: 899:

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

339:; three females guard a highly desired golden treasure that is stolen in the telling of each tale. Wagner was an enthusiastic reader of 3278: 3187: 2338: 1856: 2807: 702:, as the gods begin to cross the Rainbow Bridge into Valhalla. It begins with the music from the greeting, but develops into what 691:, 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. 662:

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

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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

726:, before a shadow falls across the music as it descends into the minor key of the "servitude" motive. 563:

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

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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..." (

659:'s analysis, are related through nature, as "fundamentally innocent allies of the natural world". 183: 4380: 3983: 3225: 3192: 3152: 3086: 3081: 2475: 2324: 963: 500:

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

308:, where they warn Siegfried of his impending death. Later these water-maids became Rhinemaidens ( 64: 4225: 3885: 2903: 2296: 2288: 2158: 2150: 758: 2295:. English National Opera Guides. Vol. 35. London: John Calder (Publishers) Ltd. pp. 2279: 2157:. English National Opera Guides. Vol. 35. London: John Calder (Publishers) Ltd. pp. 2115: 1978: 951: 4274: 4081: 3843: 3164: 2758: 2519: 2452: 927: 866: 858: 2877: 2435: 1959: 1680: 651:, Act 3. A variant of the tune becomes the Woodbird's greeting "Hei! Siegfried" in Act 2 of 4165: 4039: 3920: 3913: 3899: 3058: 3050: 2575: 2526: 579: 353:

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

638:. The melody itself is reprised during Fricka's denunciation of the Rhinemaidens in 4158: 4060: 3857: 3836: 3685: 3433: 3419: 3031: 2971: 2956: 2603: 2394: 775: 767: 670:

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

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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

178: 3552: 3482: 1017: 501: 421: 4032: 3790: 3580: 3335: 3207: 3136: 2765: 631: 599: 486: 434: 340: 317: 147: 89: 619:"; other descriptions have noted its relative charm and relaxation. 458:

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!..." (

286:. Wagner first adapted the story for use in his early 2045:(in German) (2 ed.). Berlin: G. Reimer. p. 2019:

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

182:, the Icelandic sources for most of Norse mythology. 2223:

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

2278:. Detroit: Wayne State University Press. pp. 2271: 2244: 2199: 1958: 1099: 1097: 593: 566: 475:Weia! Waga! ... Wagala weia! Wallala weiala weia! 4327: 2699:Das Judenthum in der Musik (Jewishness in Music) 2000:Richard Wagner: The Man, His Mind, and His Music 1215: 1213: 1211: 934:who sang Wellgunde there between 1965 and 1967. 3142:List of films using the music of Richard Wagner 3043: 1094: 946:in 1916. Recorded Rhinemaidens have included 274:drama, is echoed by Wagner both in the opening 2120:. Mineola, New York: Dover. pp. 142–143. 1154: 698:Scene 4) is sung by the maidens at the end of 578:encounters the Rhinemaidens. Oil on canvas by 3272: 3132:International Association of Wagner Societies 2743: 2332: 1208: 1147: 1145: 1087: 1085: 2206:. Cambridge (US): Harvard University Press. 2202:The Harvard Biographical Dictionary of Music 1980:The Nibelungenlied: The Lay of the Nibelungs 1635: 1633: 1631: 1629: 1482: 1480: 1478: 1075: 1073: 441:, their characters are undifferentiated. In 1172: 1163: 642:, Scene 2 and, dramatically, at the end of 493:from old German and that it was related to 280:scene and in the first scene in Act III of 3279: 3265: 2379: 2339: 2325: 1941:An introduction to Der Ring des Nibelungen 1656: 1654: 1254: 1229: 1227: 1225: 1142: 1082: 753:From the first complete production of the 523: 300:), introducing three unnamed water-maids ( 222:) bathing themselves in the waters of the 140:, and in the final climactic spectacle of 1854: 1626: 1561: 1475: 1070: 1021:which means "aunt (on the mother's side). 557: 528: 473:are dominated by wordless vocalisations. 392:. The name of one of these means "wave" ( 1455: 1453: 1188: 1186: 1184: 875: 816: 740: 655:. The Rhinemaidens and the Woodbird, in 570: 532: 469:The first lines sung by Woglinde in the 415: 411: 249: 126:operas—their flawed guardianship of the 25: 1774: 1744: 1651: 1430: 1428: 1222: 930:. Other Bayreuth Rhinemaidens include 4336:Literary characters introduced in 1869 4328: 2289:"The language and sources of the Ring" 1948:Donath, Helen and Moser, Edda (1998). 610: 214:or water sprites (Middle High German: 3260: 2320: 1678: 1450: 1181: 1823:. The Wagner Society. Archived from 1821:"Wagner Society Library Information" 1425: 1121:Stanzas 1528–54, Mowatt, pp. 142–143 998: 481:and the 1876 premiere of the entire 270:This story, itself unrelated to the 58:or "Rhine daughters") who appear in 3286: 3241: 2293:Wagner: The Rhinegold/Das Rheingold 2155:Wagner: The Rhinegold/Das Rheingold 2092:. London: Friends of Covent Garden. 2083:. London: Friends of Covent Garden. 1924:. Oxford: Oxford University Press. 1112:Stanzas 1524–48, Ryder, pp. 286–289 13: 2346: 2251:. London: Dover Publications Ltd. 1681:"Rhinemaidens Turn Bungee Jumpers" 849:The innovative centenary Bayreuth 14: 4402: 540:tries to reach the Rhinemaidens ( 103:which contains stories involving 3998:Johann Peter Petri (Black Peter) 3240: 3230: 3221: 3220: 2808:Männerlist größer als Frauenlist 2574: 2562: 2550: 2530: 2518: 2506: 2494: 2479: 2451: 2439: 2427: 2057:Richard Wagner and the Nibelungs 873:played on a gramophone by Loge. 835:Notes sur l'Anneau du Nibelungen 258:, Scene I – part of a series of 1961:Wagner's 'Ring' and its Symbols 1943:(CD). The Decca Record Company. 1897: 1888: 1879: 1848: 1839: 1813: 1804: 1795: 1775:Alleyne, R (18 December 2004). 1768: 1738: 1729: 1716: 1707: 1698: 1672: 1663: 1642: 1609: 1597: 1588: 1579: 1570: 1552: 1543: 1534: 1525: 1516: 1507: 1498: 1489: 1466: 1441: 1416: 1407: 1394: 1381: 1368: 1355: 1346: 1334: 1321: 1312: 1300: 1288: 1275: 1263: 1245: 1236: 1195: 1037: 1024: 3203:Richard Wagner Museum, Lucerne 2559:Die Meistersinger von Nürnberg 1903:CD recording DG 457 781 2 1998 1857:"The Lotte Lehmann Chronology" 1133: 1124: 1115: 1106: 1061: 1005: 992:Nine Daughters of Ægir and Rán 942:between 1912 and 1914 and the 880:The 1876 premiere cast of the 594:Götterdämmerung, Act 3 Scene 3 567:Götterdämmerung, Act 3 Scene 1 1: 2692:A Communication to My Friends 2178:The Complete Operas of Wagner 1576:Cooke (1967 audio), Ex. 27–28 1558:Cooke (1967 audio), Ex. 37–38 1050: 1030:The number of sprites in the 714:, Act 2, as Siegfried enters 449:drama as political allegory, 335:myth and the Rhinemaidens of 68:. Their individual names are 4366:Germanic legendary creatures 3406:Companions of Saint Nicholas 1549:Cooke (1967 audio) Ex. 34–35 903:adapted this feature in his 428:, Scene IV (Arthur Rackham). 304:), and locating them in the 7: 4268:Hirschsprung (Black Forest) 2942:Houston Stewart Chamberlain 2899:Bayreuth Festival Orchestra 2359:List of works for the stage 2180:. London: Victor Gollancz. 2151:"'The Rheingold'—The Music" 2021:. Portland: Amadeus Press. 1745:Henahan, D (27 July 1983). 1679:Weber, W (2 October 2004). 985: 774:and her (and Wagner's) son 736: 445:, his 1886 analysis of the 36:Stories of the Wagner Opera 10: 4407: 4391:Personifications of rivers 4361:German legendary creatures 4351:Female legendary creatures 4240:Volksmärchen der Deutschen 4075:Peter Nikoll (Black Peter) 2616:Das Liebesmahl der Apostel 2198:(1996). "Helga Dernesch". 1965:. London: Faber and Faber. 1957:Donington, Robert (1963). 1540:Cooke (1967 audio), Ex. 30 1343:, Act III Scene III finale 1139:Edwards, p. 235, note 146. 626:, Scene 1) the melody is 254:Alberich steals the gold: 161: 18: 4298: 4217: 3828: 3306: 3299:German-speaking countries 3294: 3216: 3110: 3074: 3000: 2922: 2914:Richard Wagner Foundation 2869: 2844: 2779: 2736: 2678:The Artwork of the Future 2662: 2589: 2466: 2415: 2372: 2354: 2287:Spencer, Stewart (1985). 2176:Osborne, Charles (1992). 2054:Magee, Elizabeth (1990). 2002:. London: Penguin Books. 1522:Cooke (1967 audio) Ex. 23 770:, under the influence of 724:Siegfried's Rhine Journey 296:(which eventually became 3872:Christman Genipperteinga 2788:Die Laune des Verliebten 1861:Lotte Lehmann Foundation 1751:at festival in Bayreuth" 1513:Cooke (1967 audio) Ex.25 1160:Cooke (1979), pp. 138–40 938:played Wellgunde at the 749:, as seen from backstage 598:In her final soliloquy, 4346:Der Ring des Nibelungen 4218:Legends and fairy tales 4026:Kunigunde von Orlamünde 3984:Heinrich von Winkelried 3193:Wagner-Werk-Verzeichnis 3153:Nietzsche contra Wagner 3087:Richard Wagner Memorial 3082:Richard Wagner Monument 2476:Der Ring des Nibelungen 2424:Der fliegende Holländer 2266:Ryder, Frank Glessner ( 2221:Sabor, Rudolph (1997). 1998:Gutman, Robert (1971). 1722:Schürman, Hans (1980), 764:Kalter, grätiger Fisch! 524:Role in the Ring Operas 65:Der Ring des Nibelungen 19:For the racehorse, see 4103:Rüdiger von Bechelaren 3886:Eppelein von Gailingen 2904:Bayreuth Festspielhaus 2088:Mann, William (1964). 2079:Mann, William (1964). 1939:Cooke, Deryck (1967). 895:directed the Bayreuth 889: 822: 759:Bayreuth Festspielhaus 750: 583: 558:Das Rheingold, Scene 4 545: 529:Das Rheingold, Scene 1 429: 349:which has a chorus of 267: 241:Möhringen an der Donau 43: 4275:Venusberg (mythology) 4082:Pied Piper of Hamelin 3928:Götz von Berlichingen 3844:Arnold von Winkelried 3165:The Perfect Wagnerite 2759:Ride of the Valkyries 2685:Autobiographic Sketch 2247:The Perfect Wagnerite 2149:North, Roger (1985). 928:Elisabeth Schwarzkopf 879: 867:Bayerische Staatsoper 859:Industrial Revolution 820: 744: 674:Scene 2, into a dark 574: 536: 443:The Perfect Wagnerite 419: 412:Nature and attributes 253: 198:. In one part of the 29: 4166:Walram of Thierstein 4040:Matthias Klostermayr 3921:Giselher of Burgundy 3914:Genevieve of Brabant 3900:Frederick Barbarossa 2364:List of compositions 2017:Holman, J.K (2001). 1318:Cooke (1979), p. 244 1178:Cooke (1979), p. 140 1169:Cooke (1979), p. 138 1091:Cooke (1979), p. 139 580:Albert Pinkham Ryder 34:. Illustration from 21:Rhine Maiden (horse) 4226:Grimms' Fairy Tales 4173:Walter of Aquitaine 4145:The Smith of Kochel 3097:Wagner Ice Piedmont 3001:Cultural depictions 2992:Eva Wagner-Pasquier 2818:Wieland der Schmied 2720:Music of the Future 2596:Symphony in C major 2225:. London: Phaidon. 2196:Randel, Don Michael 2105:. London: J M Dent. 1922:I Saw The World End 1352:Holman, pp. 399–402 1309:, Act III Scene III 940:Hamburg State Opera 907:production for the 611:Rhinemaidens' music 451:George Bernard Shaw 4356:Germanic mythology 4180:Werner Stauffacher 4096:Punker of Rohrbach 4012:Knight of the Swan 3177:Der Ring in Minden 3119:The Case of Wagner 2878:Bayreuther Blätter 2671:Art and Revolution 2590:Non-operatic music 2547:Tristan und Isolde 2117:The Nibelungenlied 1755:The New York Times 1639:Holman, pp. 373–76 1567:Newman, pp. 518–59 1242:Cooke (1979), p. 7 1219:Holman, pp. 173–75 944:Vienna State Opera 890: 823: 751: 584: 546: 502:the rainbow bridge 430: 422:the rainbow bridge 369:—specifically the 268: 210:encounter certain 44: 4386:Nixies (folklore) 4323: 4322: 4208:Xaver Hohenleiter 4152:Till Eulenspiegel 4019:Konrad Baumgarten 4005:Klaus Störtebeker 3879:Dietrich von Bern 3497:Feuermann (ghost) 3254: 3253: 3070: 3069: 2894:Bayreuth Festival 2870:Bayreuth Festival 2865: 2864: 2840: 2839: 2833: 2832:(1858; text only) 2823: 2822:(1850; text only) 2813: 2803: 2793: 2780:Unfinished operas 2775: 2774: 2651: 2641: 2636:Wesendonck Lieder 2631: 2630:(1840, rev. 1855) 2621: 2611: 2600: 2585: 2584: 2541: 2540: 2462: 2461: 2411: 2410: 2306:978-0-7145-4078-8 2258:978-0-486-21707-9 2232:978-0-7148-3650-8 2213:978-0-674-37299-3 2187:978-0-575-05380-9 2168:978-0-7145-4078-8 2144:. London: Putnam. 2071:978-0-19-816190-5 2028:978-1-57467-070-7 2009:978-0-14-021168-9 1990:978-0-19-923854-5 1931:978-0-19-315318-9 1885:Sabor, pp. 228–29 1623:, Act III Scene I 1297:, Act III Scene I 1205:, Scene 1 (p. 26) 999:Explanatory notes 909:Royal Opera House 683:Scene 3 a minor 293:Siegfried's Death 262:illustrations by 4398: 4316: 4309: 4291: 4284: 4277: 4270: 4263: 4256: 4249: 4242: 4235: 4228: 4210: 4203: 4196: 4189: 4182: 4175: 4168: 4161: 4159:Volker von Alzey 4154: 4147: 4140: 4133: 4126: 4119: 4112: 4105: 4098: 4091: 4084: 4077: 4070: 4063: 4061:Otto the Younger 4056: 4049: 4042: 4035: 4028: 4021: 4014: 4007: 4000: 3993: 3986: 3979: 3972: 3965: 3958: 3951: 3944: 3937: 3930: 3923: 3916: 3909: 3902: 3895: 3888: 3881: 3874: 3867: 3860: 3858:Baron Munchausen 3853: 3846: 3839: 3837:Albrecht Gessler 3821: 3814: 3807: 3805:Will-o'-the-wisp 3800: 3793: 3786: 3779: 3772: 3765: 3758: 3751: 3744: 3737: 3730: 3723: 3716: 3709: 3702: 3695: 3688: 3686:Nixie (folklore) 3681: 3674: 3667: 3660: 3653: 3646: 3639: 3632: 3625: 3618: 3611: 3604: 3597: 3590: 3583: 3576: 3569: 3567:Jack o' the bowl 3562: 3555: 3548: 3541: 3534: 3527: 3520: 3513: 3506: 3499: 3492: 3485: 3478: 3471: 3464: 3457: 3450: 3443: 3436: 3434:Dwarf (folklore) 3429: 3422: 3420:Drak (mythology) 3415: 3408: 3401: 3394: 3387: 3380: 3373: 3366: 3359: 3352: 3345: 3338: 3331: 3324: 3317: 3281: 3274: 3267: 3258: 3257: 3244: 3243: 3234: 3224: 3223: 3075:Named for Wagner 3044:Film adaptations 3041: 3040: 2972:Siegfried Wagner 2957:Katharina Wagner 2842: 2841: 2831: 2821: 2811: 2801: 2791: 2777: 2776: 2741: 2740: 2649: 2639: 2629: 2619: 2609: 2598: 2578: 2566: 2554: 2534: 2522: 2510: 2498: 2483: 2471: 2470: 2464: 2463: 2455: 2443: 2431: 2413: 2412: 2395:Das Liebesverbot 2377: 2376: 2341: 2334: 2327: 2318: 2317: 2310: 2283: 2277: 2262: 2250: 2236: 2217: 2205: 2191: 2172: 2145: 2131: 2106: 2093: 2084: 2075: 2050: 2032: 2013: 1994: 1971:Edwards, Cyril ( 1966: 1964: 1953: 1944: 1935: 1904: 1901: 1895: 1892: 1886: 1883: 1877: 1876: 1874: 1872: 1867:on 25 April 2010 1863:. 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( 2097:Mowatt, D.G. ( 2094: 2085: 2076: 2070: 2051: 2039:, ed. (1841). 2037:Lachmann, Karl 2033: 2027: 2014: 2008: 1995: 1989: 1967: 1954: 1945: 1936: 1930: 1913: 1906: 1905: 1896: 1887: 1878: 1847: 1845:Randel, p. 210 1838: 1812: 1810:Newman, p. 474 1803: 1794: 1767: 1737: 1728: 1715: 1713:Holman, p. 381 1706: 1697: 1685:New York Times 1671: 1669:Holman, p. 390 1662: 1650: 1641: 1625: 1615:See libretto, 1608: 1596: 1594:Newman, p. 655 1587: 1585:Newman, p. 629 1578: 1569: 1560: 1551: 1542: 1533: 1531:Holman, p. 229 1524: 1515: 1506: 1497: 1488: 1486:Holman, p. 176 1474: 1465: 1449: 1440: 1424: 1415: 1406: 1393: 1380: 1367: 1354: 1345: 1333: 1320: 1311: 1299: 1287: 1274: 1262: 1260:Holman, p. 175 1253: 1244: 1235: 1221: 1207: 1194: 1192:Sabor pp. 91–2 1180: 1171: 1162: 1153: 1151:Newman, p. 464 1141: 1132: 1123: 1114: 1105: 1093: 1081: 1079:Holman, p. 174 1069: 1067:Gutman, p. 634 1059: 1052: 1049: 1046: 1045: 1036: 1032:Nibelungenlied 1023: 1015:, mod. German 1003: 1002: 1000: 997: 996: 995: 987: 984: 932:Helga Dernesch 916:Pepper's ghost 853:, directed by 738: 735: 612: 609: 595: 592: 582:, c. 1875–1891 568: 565: 559: 556: 542:Arthur Rackham 530: 527: 525: 522: 508:at the end of 413: 410: 390:nine daughters 377:(similar to a 264:Arthur Rackham 200:Nibelungenlied 196:Nibelungenlied 163: 160: 100:Nibelungenlied 60:Richard Wagner 50:are the three 15: 9: 6: 4: 3: 2: 4403: 4392: 4389: 4387: 4384: 4382: 4379: 4377: 4374: 4372: 4369: 4367: 4364: 4362: 4359: 4357: 4354: 4352: 4349: 4347: 4344: 4342: 4339: 4337: 4334: 4333: 4331: 4315: 4311: 4308: 4304: 4303: 4301: 4297: 4290: 4286: 4283: 4279: 4276: 4272: 4269: 4265: 4262: 4258: 4255: 4251: 4248: 4244: 4241: 4237: 4234: 4230: 4227: 4223: 4222: 4220: 4216: 4209: 4205: 4202: 4198: 4195: 4191: 4188: 4184: 4181: 4177: 4174: 4170: 4167: 4163: 4160: 4156: 4153: 4149: 4146: 4142: 4139: 4135: 4132: 4131:Stauffacherin 4128: 4125: 4121: 4118: 4114: 4111: 4107: 4104: 4100: 4097: 4093: 4090: 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Guerber 37: 33: 28: 22: 4201:Wolfdietrich 4187:William Tell 4110:Schildbürger 3819:Wolpertinger 3784:Wiedergänger 3777:Weiße Frauen 3728:Rhinemaidens 3727: 3476:Ewiger Jäger 3441:Easter Bunny 3413:Doppelgänger 3297:Folklore of 3296: 3198:Museo Wagner 3175: 3171:Rhinemaidens 3170: 3163: 3151: 3124: 3117: 3059: 3051: 3032: 3023: 3016: 3009:Wagner Dream 3007: 2962:Minna Wagner 2947:Ludwig Geyer 2876: 2852:Holztrompete 2826: 2816: 2806: 2798:Die Hochzeit 2796: 2786: 2725: 2711: 2704: 2655:Kaisermarsch 2644: 2634: 2624: 2614: 2604: 2569: 2557: 2545: 2525: 2513: 2501: 2489: 2474: 2467:Music dramas 2446: 2434: 2422: 2400: 2393: 2386: 2314: 2292: 2273: 2267: 2246: 2222: 2201: 2177: 2154: 2141: 2116: 2111: 2102: 2098: 2089: 2080: 2056: 2041: 2018: 1999: 1979: 1972: 1960: 1949: 1940: 1921: 1910:Bibliography 1909: 1908: 1899: 1890: 1881: 1869:. Retrieved 1865:the original 1850: 1841: 1829:. Retrieved 1825:the original 1815: 1806: 1797: 1785:. Retrieved 1780: 1770: 1758:. 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Oxford: 1504:North p.16 1051:References 976:Edda Moser 960:Lucia Popp 893:Peter Hall 708:fortissimo 628:pentatonic 600:Brünnhilde 495:Weihwasser 355:Prometheus 333:Hesperides 318:Brünnhilde 202:narrative 179:Prose Edda 148:Brünnhilde 78:Flosshilde 4033:Lohengrin 3791:Wild Hunt 3581:Klagmuhme 3364:Bergmönch 3336:Aufhocker 3208:Wahnfried 3137:Leitmotif 3033:Wahnfried 2766:Liebestod 2515:Siegfried 2448:Lohengrin 1831:9 October 1606:, Scene 1 1272:, Scene I 1056:Citations 884:included 871:Rheingold 812:fly space 776:Siegfried 757:, at the 712:Siegfried 672:Rheingold 653:Siegfried 588:Sun-woman 576:Siegfried 487:Nietzsche 479:Rheingold 435:contralto 341:Aeschylus 186:(German: 90:Old Norse 82:Floßhilde 74:Wellgunde 4299:See also 4047:Nibelung 3963:Hannikel 3865:Brunhild 3798:Wild man 3735:Rübezahl 3623:Lindworm 3525:Heimchen 3462:Erdhenne 3378:Bogeyman 3371:Bieresel 3350:Beerwolf 3329:Askafroa 3315:Alberich 3226:Category 3060:Parsifal 3052:Parsifal 2663:Writings 2607:Overture 2571:Parsifal 2388:Die Feen 2243:(1967). 2140:(1949). 1977:(2010). 1920:(1979). 1783:. London 1760:29 April 1747:"Opera: 1690:29 April 986:See also 843:Wolfgang 833:, whose 797:Winifred 737:On stage 551:Alberich 538:Alberich 506:Valhalla 491:Weiawaga 361:sea god 351:Oceanids 314:Alberich 288:libretto 220:Meerweib 212:mermaids 113:mermaids 70:Woglinde 3935:Gunther 3700:Perchta 3679:Nis Puk 3630:Lorelei 3616:Krampus 3560:Irrwurz 3553:Hödekin 3483:Fänggen 3469:Erlking 3343:Bahkauv 3111:Related 3012:(opera) 2706:Leubald 2605:Polonia 1787:9 April 1463:, p. 91 1438:, p. 75 1331:, p. 85 980:Karajan 827:Wieland 801:Chicago 632:motives 363:Oceanus 325:Lorelei 208:Gunther 162:Origins 115:of the 42:, 1905. 4371:Naiads 4282:Vineta 4194:Witege 4124:Sigurd 4054:Ortnit 3942:Gudrun 3851:Attila 3829:People 3749:Schrat 3609:Kobold 3539:Hemann 3490:Fasolt 3307:Beings 3017:Wagner 2812:(1838) 2802:(1832) 2792:(1830) 2650:(1870) 2640:(1858) 2620:(1843) 2610:(1836) 2599:(1832) 2402:Rienzi 2303: 2268:trans. 2255: 2229: 2210: 2184: 2165: 2124: 2112:trans. 2099:trans. 2068: 2025: 2006: 1987: 1973:trans. 1928: 1871:5 June 1459:Mann, 1434:Mann, 1400:Mann, 1387:Mann, 1374:Mann. 1361:Mann, 1327:Mann, 1281:Mann, 970:, and 716:Fafner 460:Fricka 381:) sea 375:jötunn 224:Danube 216:merwîp 168:Ring's 117:Danube 109:nixies 4376:Rhine 3893:Faust 3770:Uhaml 3763:Türst 3518:Gütel 3427:Drude 3236:Audio 2297:31–38 2282:–289. 2159:15–30 1404:p. 20 1391:p. 18 1378:p. 17 1365:p. 16 1285:p. 44 1018:Muhme 1013:muome 676:minor 504:into 439:mezzo 402:Wotan 394:Welle 379:giant 373:—the 365:, in 359:titan 306:Rhine 228:Etzel 204:Hagen 188:Nixen 128:Rhine 111:) or 94:Eddas 32:Rhine 2301:ISBN 2253:ISBN 2227:ISBN 2208:ISBN 2182:ISBN 2163:ISBN 2122:ISBN 2066:ISBN 2023:ISBN 2004:ISBN 1985:ISBN 1926:ISBN 1873:2010 1833:2008 1789:2008 1762:2008 1692:2008 978:for 974:and 966:for 962:and 954:and 950:for 905:Ring 897:Ring 882:Ring 851:Ring 839:Ring 804:Ring 785:Ring 780:Ring 755:Ring 747:Ring 668:Ring 636:Ring 617:Ring 483:Ring 471:Ring 456:Loge 447:Ring 388:has 386:Ægir 272:Ring 260:Ring 206:and 192:Ring 155:Ring 124:Ring 86:Ring 76:and 46:The 2280:288 2047:197 956:RAI 685:key 437:or 383:god 290:of 176:or 38:by 4332:: 2299:. 2291:. 2161:. 2153:. 2064:. 1859:. 1779:. 1753:. 1683:. 1653:^ 1628:^ 1477:^ 1452:^ 1427:^ 1224:^ 1210:^ 1183:^ 1144:^ 1096:^ 1084:^ 1072:^ 982:. 958:, 320:. 119:. 72:, 3280:e 3273:t 3266:v 2768:" 2764:" 2761:" 2757:" 2754:" 2750:" 2722:" 2718:" 2701:" 2697:" 2694:" 2690:" 2687:" 2683:" 2680:" 2676:" 2673:" 2669:" 2340:e 2333:t 2326:v 2309:. 2261:. 2235:. 2216:. 2190:. 2171:. 2130:. 2074:. 2049:. 2031:. 2012:. 1993:. 1975:) 1934:. 1875:. 1835:. 1791:. 1764:. 1694:. 762:( 544:) 266:. 107:( 80:( 54:( 23:.

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