Brünnhilde gelingt es noch, Sieglinde den Weg zur Flucht zu weisen, wobei sie der lebensmüden Frau auch verkündet, dass sie einen Sohn gebären wird („den hehrsten Helden der Welt hegst du, o Weib, im schirmenden Schoß!“). Lohengrin (1850) | Wotan, der Wahrer der göttlichen Ordnung, so argumentiert sie, könne diesen Ehebruch nicht ungestraft lassen. Brünnhilde tells Sieglinde that she is pregnant by Siegmund, and urges her to remain alive for her child's sake, and to name the child Siegfried. [59][n 3], Writing in 2006, Millington thought that, notwithstanding the liberal use of ensembles in the third act, Die Walküre showed the greatest fidelity of the four operas to the theoretical principles expressed by Wagner in Opera and Drama: "A thoroughgoing synthesis of poetry and music is achieved without any notable sacrifice in musical expression". Die Valkyrja der nordischen Sagas haben wortgetreu die Eigenart, auf den Schlachtfeldern die „Toten auszuwählen“ (Verbindung der Worte val „schlachten“ und kyrja „auswählen“). Sie erscheint Siegmund in der vierten Szene des zweiten Aufzugs, der sogenannten Todesverkündung. She retorts that Siegmund is not free but is Wotan's pawn, whose every move the god seeks to direct. [43] He had originally envisaged holding the first Bayreuth Festival there in 1873, but delays in the building work, and in completing the Ring music, led to multiple postponements. Erzürnt greift Wotan selbst in das Kampfesgeschehen ein. Sie hält inne und fährt … [66] The 2018 Bayreuth Festival broke new ground when for the first time it scheduled Die Walküre as a stand-alone, outside the context of the Ring cycle. "[22] They became entwined in legend: in the Poetic Edda they emerge as supernatural warrior maidens carrying out Odin's orders as to who should die. [30] Wagner wrote the concert version of the Ride in 1862, for performance in concerts at Vienna and Leipzig. The text was completed by July 1852, and the music by March 1856. [24], Wagner effected a number of changes between his original draft and the final text. Wagner showed flexibility in the application of these principles here, particularly in Act 3 when the Valkyries engage in frequent ensemble singing. The Valkyries congregate on the mountain-top, each carrying a dead hero and chattering excitedly. The critic Barry Millington opines that of all Wagner's works, Die Walküre is the fullest embodiment of the Opera and Drama precepts, achieving a complete synthesis of music and poetry. As they talk, they look at each other with growing interest and emotion. [71] Roger Scruton refers to deviations in Die Walküre such as the "Spring Song" (Winterstürme), in which Siegmund holds up the action to declare his love for Sieglinde in what is to all intents and purposes an aria,[72] while Osborne notes the "impressive ensembles" in Act 3, as the Valkyries sing together. Die Geschwister erkennen einander, sie glühen in Liebe zueinander. [47] The singer Lilli Lehmann (Helmwige), in her 1913 memoirs, remembered Wagner acting the role of Sieglinde in rehearsals: "Never yet has a Sieglinde known how to approach him, even approximately". Before slowly departing, Wotan pronounces that anyone who fears his spear shall never pass through the fire. During the lengthy time that has passed since the gods entered Valhalla at the end of Das Rheingold, Fafner has used the Tarnhelm to assume the form of a dragon, and guards the gold and the ring in the depths of the forest. The other Valkyries protest, but when Wotan threatens them with the same, they flee. Götterdämmerung, Dieser Artikel behandelt die Oper. These designs, and Carl Döpler's costumes, influenced productions well into the 20th century. By then it was travelling worldwide: to Mexico in 1891, Argentina in 1899, Australia in 1907, South Africa in 1912 and Brazil in 1913. Bei Wagner dient diese zur Verteidigung Walhalls für den Fall, daß Alberich den Ring wiedererlangt und mit den Nibelungen Walhall angreifen will. These sketches were expanded to a more detailed prose plan in May 1852, and the full libretto was written in June 1852. [14] Likewise, in the sagas Sieglinde is a somewhat different character, Signy; she is Siegmund's twin sister, but the son she bears him is not Siegfried, and the manner of her death is quite different from that depicted by Wagner. Wagner, Richard - Ritt der Walküren Wilhelm Richard Wagner (* 22. Parsifal (1882) | He would therefore create a series of music dramas, each telling a stage of the story, basing the narrative on a combination of myth and imagination; Siegfried's Death would provide the culmination. [78], Wagner uses other Rheingold motifs to deliver key information. Tristan und Isolde | This was in turn preceded by Die Walküre (The Valkyrie), dealing with Siegfried's origins, the whole tetralogy being fronted by a prologue, Das Rheingold. Als Brünnhilde schließlich von Wotan den Auftrag erhält, das Kampfeslos zu Gunsten Hundings zu wenden, ist sie niedergeschlagen. Die Feen, Der Ring des Nibelungen Die Kooperation von Highland Park und dem Festspielhaus Bayreuth ist zunächst auf drei Jahre angelegt. [28], The system of leitmotifs, integral to the Opera and Drama principles, is used to the full in Die Walküre; Holman numbers 36 such motifs that are introduced in the work. [53] It was quickly taken up by other opera houses: Vienna and New York in 1877, Rotterdam in 1878 and London in 1882. Wagner began work on what became his Ring project in October 1848 when he prepared a prose outline for Siegfried's Death, based on the legendary hero of Germanic myth. [45], Wagner was involved in every stage of the preparations; according to Ernest Newman's biography he was "a far better conductor than any of his conductors, a far better actor than any of his actors, a far better singer than any of his singers in everything but tone". Siegfried (1876) | Er bedeutet „Seherin“, „Allwissende“. [82] The first scene of the act introduces Brünnhilde's energetic "Hojotoho! Einfluss auf die Dauer hatten auch die Art der Stimme und das Temperament der Sänger. Zudem will Wotan verhindern, dass Alberich wieder in den Besitz des Ringes gelangte („dann wäre Walhall verloren“). Als Brünnhilde kurz darauf zu Wotan zurückkehrt und ihn zutiefst erschüttert vorfindet, gelingt es ihr, Wotan zum Reden zu bringen (Wotan: „… mit mir nur rat ich, red ich zu dir“). Die Uraufführung fand am 26. Sie bildet zusammen mit den Opern Das Rheingold, Siegfried und Götterdämmerung das Gesamtwerk Der Ring des Nibelungen. She reveals that she was forced into the marriage and that during their wedding feast, an old man appeared and plunged a sword into the trunk of the ash tree which neither Hunding nor any of his companions have been able to remove. Hunding legt sich schlafen (Sieglinde: „ich würzt ihm betäubenden Trank“). Siegmund gets ready to leave, telling Sieglinde that misfortune follows him, and he does not want to bring it on her; she replies that misfortune dwells with her already. Brünnhilde weist Wotan darauf hin, dass seine Weisung an sie, da er Siegmund ja liebe, immer war, ihn zu schützen, und dass seine widersprüchliche Rücknahme dieser Weisung lediglich darauf beruhe, dass Fricka ihn mit ihren Argumenten sich selbst entfremdet habe. Die Walküre (The Valkyrie), WWV 86B, is the second of the four music dramas that constitute Richard Wagner's Der Ring des Nibelungen, (English: The Ring of the Nibelung).It was performed, as a single opera, at the National Theatre Munich on 26 June 1870, and received its first performance as part of the Ring cycle at the Bayreuth Festspielhaus on 14 August 1876. August in der Thomaskirche auf den Namen Wilhelm Richard Wagner evangelisch getauft. Brünnhilde gathers up the fragments of the sword and flees on horseback with Sieglinde. Im ersten Aufzug der Walküre sucht Siegmund unter dem Namen Wehwalt bei Sieglinde, der Gattin Hundings, Obdach. [48], The Die Walküre performance on 14 August was free from the mechanical problems that had affected Das Rheingold the day before,[49] and was generally well received by the distinguished audience that included the Kaiser Wilhelm I, Emperor Pedro II of Brazil, representatives from various European royal houses and many of Europe's leading composers. [20] Certain aspects of her Ring character appear in the Eddas and the Nibelungenlied, such as her encirclement by Wotan in a ring of fire, and her rescue by a hero without fear. Neben Brünnhilde, dem Kind von Wotan und Erda, treten hier acht weitere Walküren auf, deren Namen Wagner frei erfand. The two sing of their passionate love for each other, as the act ends. Februar 1883 in Venedig) war ein deutscher Komponist, Dramatiker, Dichter, Schriftsteller, Theaterregisseur und Dirigent. Brünnhilde gives the fragments of the sword Nothung to Sieglinde, who thanks her for her loyalty and comfort, and resolves to save the child. Amalie Materna, Bayreuth's original Brünnhilde, reprised the part here. Sechs Walküren: Fort mit dem Weibe, droht ihm Gefahr: der Walküren keine wag’ ihren Schutz! On a high mountain ridge, Wotan instructs Brünnhilde, his Valkyrie daughter, to protect Siegmund in his forthcoming battle with Hunding. The "Annunciation of Death" motif is the crucial point, where the two narratives (Wotan/Brünnhilde and Siegmund/Sieglinde) come together. Hunding returns and questions Siegmund's presence. Brünnhilde: mit lebhaftem Entschluß hebt sie Sieglinde auf : So fliehe denn eilig – und fliehe allein! Die Walküre | Diese basieren auf der "Nibelungensage", die - nicht zuletzt dank Wagner - im 19. Sie heißen Waltraute, Ortlinde, Roßweiße, Schwertleite, Gerhilde, Siegrune, Grimgerde und Helmwige.« Noch vor Beginn der Komposition an der Walküre notierte sich Richard Wagner am 23. [55] Damrosch fell ill just before the festival ended, and died on 15 February 1885. Als Richard Wagner seine Ring – Dichtung verfasste, lag ihm die Deutsche Mythologie Jacob Grimms vor, der er sich als Quelle bediente. Sie heißen Waltraute, Ortlinde, Rossweiße, Schwertleite, Gerhilde, Siegrune, Grimgerde und Helmwige. Die Walküren. Bei Wagner sind die Walküren neun Schwestern, alles Töchter des Gottes Wotan mit verschiedenen Frauen. Die Walküre (Aussprache: [.mw-parser-output .IPA a{text-decoration:none}diː ˈvalkyːrə]) (WWV 86 B) ist der Titel einer Oper von Richard Wagner. Richard Wagner wurde als neuntes Kind des Polizeiaktuarius Carl Friedrich Wagner (1770–1813) und der Bäckerstochter Johanna Rosine Wagner, geb. Männerlist größer als Frauenlist (1838, unvollendet) | In 1851 he outlined his purposes in his essay "A Communication to My Friends": "I propose to produce my myth in three complete dramas, preceded by a lengthy Prelude (Vorspiel)". It is, he says, the opera that stands up most strongly outside the tetralogy, and is popular enough to be staged frequently on its own, even within Bayreuth festivals. Wotan Die Walküren fahren mit wildem Wehschrei auseinander und stürzen in hastiger Flucht in den Tann. Fricka fordert und erhält am Ende den Eid Wotans, Siegmund im Kampf zu fällen (Fricka: „Der Wälsung fällt meiner Ehre!“). Die Walküre ist nach dem Vorspiel (Das Rheingold) der erste Tag. Den Sagenstoff verarbeitete im 19. Jahrhundert der deutsche Komponist Richard Wagner in seinem vierteiligen Zyklus Der Ring des Nibelungen (1848–1874), vor allem im „Ersten Tag“ dieser Tetralogie unter dem Titel Die Walküre. Die Walküre (Aussprache: [diː ˈvalkyːrə]) (WWV 86 B) ist der Titel einer Oper von Richard Wagner. [61], At Bayreuth, no significant changes in presentation occurred until after the Second World War, when Wieland Wagner revealed his "New Bayreuth" style of largely bare stages and unadorned costumes. When Wotan arrives, the Valkyries vainly try to hide Brünnhilde. Die Meistersinger von Nürnberg | Willkommen! Sie heißen Waltraute, Ortlinde, Rossweiße, Schwertleite, Gerhilde, Siegrune, Grimgerde und Helmwige. [13] From this plethora of material he selected particular elements and transformed them, to create his own narrative through the compression of events, the rearrangement of chronology and the fusion of characters. Die Walküre (The Valkyrie), WWV 86B, is the second of the four music dramas that constitute Richard Wagner's Der Ring des Nibelungen, (English: The Ring of the Nibelung). For other uses, see, Josef Hoffman's stage design for Act 1, Bayreuth 1876. Although traditional productions continued outside Bayreuth, many performances followed the new trend. [81], The second act opens exuberantly, with a short prelude that prefigures the celebrated Valkyrie motif that in the following act will form the basis of the "Ride of the Valkyries" in Act 3. [40] Cosima kept all communications from Munich away from Wagner, and tore up the more critical newspaper reviews. Das ist eine Tetralogie. Er verfasste kurz darauf erste, und ein Streichquartett (1829) sowie mehrere, Mit dem Plan, den in Leipzig nach einer italienischen Vorlage verfassten … Juni 1870 im Kö… Balders Träume. Tristan und Isolde (1865) | Heimgekehrt erfragt Hunding die Herkunft des Gastes und stellt fest, dass Siegmund ausgerechnet jenem verhassten „wilden Geschlecht“ angehört, das er soeben – erfolglos – gejagt hat, um „Sühne zu nehmen für Sippenblut“, nur um nun des „flücht’gen Frevlers Spur im eignen Haus zu erspähn“. Mai 1813 in Leipzig; † 13. She scorns Wotan's argument that he requires Siegmund as a "free hero", who can further his plans to recover the ring from Fafner, uninhibited by Wotan's contracts. Sie heißen Waltraute, Ortlinde, Roßweiße, Schwertleite, Gerhilde, Siegrune, Grimgerde und Helmwige. Seeing little chance of the Ring project coming to any immediate fruition, and in need of money, in August 1857 Wagner abandoned work on it and concentrated instead on Tristan und Isolde and Die Meistersinger von Nürnberg, and on a revised version of Tannhäuser. Unarmed and wounded, he collapses with exhaustion. The story of Die Walküre is based on the Norse mythology told in the Volsunga Saga and the Poetic Edda. Sigurd (Siegfried) is not the child of Siegmund's incestuous marriage to his sister, but of a later wife who preserves the sword fragments. Bühnenbildentwurf von Helmut Jürgens für „Die Walküre“, Aufführung Bayer. Sieglinde returns, having drugged Hunding's drink. She reveals herself as Sieglinde, his twin sister. Wagner übernimmt diesen Begriff. Die Walküre | Ihre Geschichten oder Sagen sind sehr eng mit den Helden, die sie geheiratet hatten, verbunden, wie zum Beispiel Brundhild und Sigurd . Wotan has also wandered the earth, and with a woman of the Völsung race has fathered the twins Siegmund and Sieglinde, who have grown up separately and unaware of each other. It was privately printed, with the other Ring libretti, in February 1853. Sie beschließt, sich Wotans Befehl zu widersetzen und Siegmund zu helfen. [69] In his analytical essay The Perfect Wagnerite, Bernard Shaw praises the synthesis of music and drama: "There is not ... a note in it that has any other point than the single direct point of giving musical expression to the drama". [84], In the colloquies between Wotan and Brünnhilde, several soundings of the "Woman's Worth" motif are heard. [66] As with its predecessor, Wagner composed Die Walküre under the principles he had defined in his book-length 1851 essay Opera and Drama, eschewing the traditional operatic norms of chorus, arias and vocal "numbers". [64] A few prominent productions adhered to traditional staging, including Otto Schenk's at the New York Met in 1989, which was described by the New York Times as "charmingly old fashioned", and as "a relief to many beleagured Wagnerites". [4] Because Wagner prepared his texts in reverse chronological sequence, Die Walküre was the third of the dramas to be conceived and written, but appears second in the tetralogy.[5]. [67], Osborne writes that, like Das Rheingold, Die Walküre is primarily a work for solo voices, but with better integration of the vocal parts into the overall musical structure. Zombies, lebendige Dioramen, intime Bekenntnisse, eine Armee lebensgroßer Skelettkrieger: Diese Kölner „Walküre“, sehr frei nach Richard Wagner, ist ein immersives Gesamtkunstwerk. Brünnhilde arrives with Sieglinde, and begs her sisters for help, but they dare not defy Wotan. Hunding reveals that he is one of Siegmund's pursuers; Siegmund may stay, he says, but they must fight in the morning. [92], More generally, while recognising the existence of a few longeurs, modern critics of Die Walküre have recorded much more positive opinions. [88] The motif will next be heard at the very end of the Ring cycle, bringing the entire tetralogy to a close on a note of reconciliation and optimism. These, with Brünnhilde, are the Valkyries, whose task is to recover heroes fallen in battle and bring them to Valhalla, where they will protect the fortress from Alberich's assault should the dwarf recover the ring. Die Walküre ist nach dem Vorspiel (Das Rheingold) der erste Tag. Neben Brünnhilde, dem Kind von Wotan und Erda, treten hier acht weitere Walküren auf, deren Namen Wagner frei erfand. Beim Ring des Nibelungen handelt es sich um eine Tetralogie, nämlich um ein „Bühnenfestspiel für drei Tage und einen Vorabend“. Ich bleibe zurück, biete mich Wotans Rache: The stage designer, Wilhelm Hock, recreated the original Bayreuth designs. Richard Wagner heeft een van de mythen van de Walkuren gebruikt in Der Ring des Nibelungen. [51] Among the scenes that he felt had not come off were those on the mountain-top: "I'll change that some day when I produce Walküre in heaven, at the right hand of God, and the old gent and I are watching it together". Die Walküren fahren mit wildem Wehschrei auseinander und stürzen in hastiger Flucht in den Tann. Wotan has visited Erda seeking wisdom, and by her has fathered a daughter, Brünnhilde; he has fathered eight other daughters, possibly also by Erda. She is longing for the hero who will draw the sword and save her. [86] The Ride has achieved lasting popularity as an orchestral concert piece outside the framework of the Ring cycle; according to Newman, in the orchestral version and sometimes within the opera itself, the basis staccato phrasing is corrupted by eliding the second and third notes and emphasising the fourth rather than the first as originally written. Siegfried | Juni 1870 im Königlichen Hof- und Nationaltheater München unter der Leitung von Franz Wüllner statt. Contemptuously, Wotan strikes Hunding dead, and swearing that Brünnhilde will be punished for her defiance, sets out in pursuit of her. Zum unabhängig von ihr bekannten Orchesterstück aus dem III. His weapons were destroyed, the bride was killed, and he was forced to flee. Das Werk ist im Verlag Schott, Mainz (Richard-Wagner-Gesamtausgabe) erschienen. Der fliegende Holländer | (In de Proloog komt Brünnhilde niet ter sprake, hoewel Herda, de moeder van de Walküren daarin optreedt.) Die Uraufführung fand am 26. Siegmund nennt das Schwert Notung (in Partitur und Klavierauszug Nothung geschrieben), da er es sich in der größten Not gewinnt, und zieht es voll Begeisterung aus dem Stamm. Siegmund fällt, da Wotans Speer sein Schwert zerschlägt. Die sechs anderen Walküren Willkommen! Richard Wagner war bekennender Antisemit und wurde von Adolf Hitler als Idol gefeiert. Wotan consents to her request that he surround her resting place with a circle of fire that will protect her from all but the bravest of heroes. Tannhäuser (1845) | Hunding's call is heard; he arrives and attacks Siegmund. König Ludwig II setzte sie durch, da er die Rechte an dem Werk besaß. Ein greller Blitzesglanz bricht in dem Gewölk aus; in ihm erblickt man die Walküren mit verhängtem Zügel, in eine Schar zusammengedrängt, wild davonjagen. According to Cooke, originally they were "grisly old women who officiated at the sacrificial rites when prisoners were put to death. Some of these names differ in other sources. [42], In May 1872, Wagner laid the foundation stone for the Festspielhaus in Bayreuth, Northern Bavaria. Tannhäuser | [3] Each of these dramas would, he said, constitute an independent whole, but would not be performed separately. [2], After his flight to Switzerland in May 1849, Wagner continued to expand his project, having decided that a single work would not suffice for his purposes. Die Walküre (1870) | [21], The Valkyries have a basis in historical fact, within the primitive Teutonic war-cult. Rienzi | Recently he fought with the relatives of a girl being forced into marriage. [62] From the 1970s onwards there was increasing innovation; the Leipzig Die Walküre began the trend of placing the opening scene of Act 2 within Valhalla rather than on a mountain-top;[63] Harry Kupfer at Bayreuth in 1988 set the whole cycle in a post-nuclear dystopia;[63] Jürgen Flimm's Bayreuth 2000 production had Wotan as a corrupt businessman, sitting in an office surrounded by 21st-century paraphernalia, including a paper-shredder used to cover his tracks. Having described the first act as "for the most part, drearily long-winded", this critic thought that the second act dragged and came to life only occasionally. Wagner and Cosima were not married until 25 August 1870. Dieser verwendete seinen „Ritt der Walküren“ fürPropaganda und Kriegsberichterstattung. [18] Brünnhilde is a less central figure in the sagas than she is in the Ring cycle. He faces her and declares her punishment: she is to be stripped of her Valkyrie status and become a mortal woman, to be held in defenceless sleep on the mountain, prey to any man who finds her. He was unnerved by an incident involving the kaiser, when the 79-year-old Wilhelm stumbled and almost fell over a doorstep,[49] and was very critical of two of his main singers, Niemann and Betz, whom he deemed "theatre parasites" and said he would never employ again – a view he later revised. Wotan nimmt bewegt Abschied von seiner Lieblingstochter, sieht ihr zum letzten Mal in die Augen und küsst die Gottheit von ihr. [11] Prose sketches for the first two acts were prepared in November 1851, and for the third act early in the following year. Much moved, Brünnhilde decides to defy her father and grant victory to Siegmund. [50] Wagner, however, was far from pleased. Sie wagt den Vorschlag, dass Wotan ein Feuer um den Berg legen möge, auf den er sie schlafend verbannen will, um ihr die Schmach zu ersparen, womöglich „dem feigsten Manne zur leichten Beute“ zu werden. [79] The same theme references Wotan again, when Sieglinde recounts the visit of the old man at her wedding.

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