Wagner's Der Ring Des Nibelungen

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Wagner's Der Ring Des Nibelungen The Pescadero Opera Society presents Wagner’s Der Ring des Nibelungen Summer Season 2012 June 9th and 23rd, July 7th and 21th, August 4th The Pescadero Opera Society is extending its 2012 opera season by offering a summer course on Wagner’s Ring Cycle. This is the fourth time this course has been offered; previous courses were given rave reviews. The Ring consists of four operas: Das Rheingold, Die Walküre, Siegfried and Gotterdämmerung, an opera mini-series which are connected to each other by storyline, characters and music. It is considered to be the greatest work of art ever written with some of the most extraordinary music on earth. The operas will be presented in two-week intervals throughout the summer; a fifth week is added to offer “A Tribute to Wagner,” a special event you won't want to miss. The format for presenting these four operas will be a bit different than during the regular season. Because this work is so complex and has so many layers, both in story and in music, before each opera there will a PowerPoint presentation. Listen to the wonderful one-hour introduction of “The Ring and I: The Passion, the Myth, the Mania” to find out what all the fuss is about: http://www.wnyc.org/articles/music/2004/mar/02/the-ring-and-i-the-passion-the-myth-the- mania/. Der Ring des Nibelungen is based on Ancient German and Norse mythology. Das Rheingold begins with the creation of the world and Gotterdammerung ends with the destruction of the gods. It includes gods, goddesses, Rhinemaidens, Valkyries, dwarfs, a dragon, a gold ring, a magic sword, a magic Tarnhelm, magic fire, and much more. It also includes greed, love, incest, punishment, betrayal and murder. It is an extraordinary work, taking opera to a new level. Come with an open mind and you'll be swept away by the sheer magnitude of the performance and the extraordinarily rich and powerful music. We will be showing the wonderful 1990 Metropolitan Opera production conducted by James Levine, produced the way Wagner originally intended it to be shown. As usual, the operas will all be shown on our giant-sized movie screen in six-channel digital surround-sound, complete with English subtitles. Extensive information packets on The Ring will also be distributed. Schedule Saturday, June 9th Noon Das Rheingold 2½ hours Saturday, June 23rd Noon Die Walküre 4½ hours Saturday, July 7th Noon Siegfried 5 hours Saturday, July 21th Noon Gotterdämmerung 5½ hours 2 Saturday, August 4th Noon “A Tribute to Wagner” Socializing and pot-luck will begin at Noon. We will provide the main dish, large salad, drinks and snacks. Please bring a dish that you want to share for the pot luck. Ring Course: An Introduction to The Ring will begin at 1:00, followed by the opera. Prepare for a long day. The fifth week will be a German dinner celebration with a special “Tribute to Wagner” with a video of Anna Russell’s hilarious satire of The Ring, the entertaining “Stagehand’s Ring,” the prank played on Birgit Nilsson as she sung “The Immolation Scene,” as well as listening to some of Wagner’s glorious music. Ring Programs. Download the synopses of Wagner’s Ring, as well as other Ring information from the Pescadero Opera Society Yahoo! Group. Sign up at: http://groups.yahoo.com/group/PESCADERO_OPERA. It's FREE! Location: The address is 10350 Cabrillo Highway (Coast Highway) in Pescadero, 3 miles south of Pescadero Road, one-half mile south of Bean Hollow Beach, two miles north of the Pigeon Point Lighthouse. The driveway entrance marked by an American Flag on the east side of the highway. There is NO CHARGE for taking this course but, for planning purposes, I would appreciate knowing ahead of time if you are planning to attend. Please email me if you are interested, or if you have any questions. Phyllis Neumann [email protected] 650-879-0769 home 650-245-0604 cell .
Recommended publications
  • The Bayreuth Festspielhaus: the Metaphysical Manifestation of Wagner's Der Ring Des Nibelungen Matthew Timmermans University of Ottawa
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 8 | Issue 1 Article 6 The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Matthew Timmermans University of Ottawa Recommended Citation Timmermans, Matthew (2015) "The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 8: Iss. 1, Article 6. The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Abstract This essay explores how the architectural design of the Bayreuth Festspielhaus effects the performance of Wagner’s later operas, specifically Der Ring des Nibelungen. Contrary to Wagner’s theoretical writings, which advocate equality among the various facets of operatic production (Gesamtkuntswerk), I argue that Wagner’s architectural design elevates music above these other art forms. The evidence lies within the unique architecture of the house, which Wagner constructed to realize his operatic vision. An old conception of Wagnerian performance advocated by Cosima Wagner—in interviews and letters—was consciously left by Richard Wagner. However, I juxtapose this with Daniel Barenboim’s modern interpretation, which suggests that Wagner unconsciously, or by a Will beyond himself, created Bayreuth as more than the legacy he passed on. The juxtaposition parallels the revolutionary nature of Wagner’s ideas embedded in Bayreuth’s architecture. To underscore this revolution, I briefly outline Wagner’s philosophical development, specifically the ideas he extracted from the works of Ludwig Feuerbach and Arthur Schopenhauer, further defining the focus of Wagner’s composition and performance of the music. The analysis thereby challenges the prevailing belief that Wagner intended Bayreuth and Der Ring des Nibelungen, the opera which inspired the house’s inception, to embody Gesamtkunstwerk; instead, these creations internalize the drama, allowing the music to reign supreme.
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  • WAGNER and the VOLSUNGS None of Wagner’S Works Is More Closely Linked with Old Norse, and More Especially Old Icelandic, Culture
    WAGNER AND THE VOLSUNGS None of Wagner’s works is more closely linked with Old Norse, and more especially Old Icelandic, culture. It would be carrying coals to Newcastle if I tried to go further into the significance of the incom- parable eddic poems. I will just mention that on my first visit to Iceland I was allowed to gaze on the actual manuscript, even to leaf through it . It is worth noting that Richard Wagner possessed in his library the same Icelandic–German dictionary that is still used today. His copy bears clear signs of use. This also bears witness to his search for the meaning and essence of the genuinely mythical, its very foundation. Wolfgang Wagner Introduction to the program of the production of the Ring in Reykjavik, 1994 Selma Gu›mundsdóttir, president of Richard-Wagner-Félagi› á Íslandi, pre- senting Wolfgang Wagner with a facsimile edition of the Codex Regius of the Poetic Edda on his eightieth birthday in Bayreuth, August 1999. Árni Björnsson Wagner and the Volsungs Icelandic Sources of Der Ring des Nibelungen Viking Society for Northern Research University College London 2003 © Árni Björnsson ISBN 978 0 903521 55 0 The cover illustration is of the eruption of Krafla, January 1981 (Photograph: Ómar Ragnarsson), and Wagner in 1871 (after an oil painting by Franz von Lenbach; cf. p. 51). Cover design by Augl‡singastofa Skaparans, Reykjavík. Printed by Short Run Press Limited, Exeter CONTENTS PREFACE ............................................................................................ 6 INTRODUCTION ............................................................................... 7 BRIEF BIOGRAPHY OF RICHARD WAGNER ............................ 17 CHRONOLOGY ............................................................................... 64 DEVELOPMENT OF GERMAN NATIONAL CONSCIOUSNESS ..68 ICELANDIC STUDIES IN GERMANY .........................................
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  • Staging Der Ring Des Nibelungen
    John Lindner Professor Weinstock Staging Der Ring des Nibelungen: The Revolutionary Ideas of Adolphe Appia and their Roots in Schopenhaurean Aesthetic Principles “For Apollo was not only the god of music; he was also the god of light.” - Glérolles: April, 1911) Richard Wagner’s set design in Der Ring des Nibelungen differed from that of later adaptations in the 20th century. Before Wieland and Wolfgang Wagner, the grandsons of the composer, allowed for modern stage design theory to penetrate the walls of Bayreuth, nothing in the production of Wagner’s operas was noticeably changed since his death. Richard Wagner disliked the two-dimensional sets he was accustomed to using, composed of highly ornamental and richly painted backdrops that strove for a natural realism. For all his genius in operatic creation (specifically the musical composition), Wagner never fully challenged the contemporary method of staging in Der Ring des Nibelungen. In his writings he bemoans having to deal with them at all, yet never does anything of much significance about it. The changes he made were topical in nature, such as the sinking the orchestra pit at the Bayreuth. Shortly after Wagner’s death, Adolphe Appia (1862-1928) led a revolution in stage design, letting light and the movement of the actors, as determined by the music, to sculpt spaces. Appia saw the 1 ability for light to change and shape feelings, much in the same way that Wagner’s music did. A stage comprised of objects with three-dimensional depth allowed for different lighting conditions, not only by location of the physical lights and their direction, but more importantly, by letting the light react off of the stage and characters in a delicate precision of lit form, shade and shadow.
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  • WAGNER / Рихард Вагнер DISC 3 45’41” (1813–1883) Zweiter Aufzug – Act Two (Conclusion) 1 Xii
    lk a Waü GN r W , joNas k e e pe kY au r m iNs or f e ri C m i a a Val H k er e a m Y s N a t D j N G r N e , a r a r e G N i e é V p a p e , N i N a s t e e m m 2 Die Walküre Mariinsky Richard WAGNER / Рихард ВагнеР DISC 3 45’41” (1813–1883) Zweiter Aufzug – Act Two (conclusion) 1 xii. Schwer wiegt mir der Waffen Wucht / My load of armour weighs heavy on me p18 2’28” DiE WAlkÜRE 2 xiii. Dritte Szene: Raste nun hier, gönne dir Ruh’! / Scene Three: Do stop here, and take a rest p18 8’56” (ThE VAlkyRiE / ВалькиРия) 3 xiv. Wo bist du, Siegmund? / Where are you, Siegmund? p19 3’49” 4 xv. Vierte Szene: Siegmund! Sieh auf mich! / Scene Four: Siegmund, look at me p19 10’55” Siegmund / Зигмунд...................................................................................................................................Jonas KAUFMANN / Йонас Кауфман 5 xvi. Du sahst der Walküre sehrenden Blick / you have seen the Valkyrie’s searing glance p20 4’27” hunding / Хундинг................................. ..............................................................................................Mikhail PETRENKO / михаил ПетренКо 6 xvii. So jung un schön erschimmerst du mir / So young and fair and dazzling you look p20 4’58” Wotan / Вотан..........................................................................................................................................................................René Pape / рене ПаПе 7 xviii. Funfte Szene: Zauberfest bezähmt ein Schlaf / Scene Five: Deep as a spell sleep subdues p21 3’01” Sieglinde / Зиглинда........................................................................................................................................................Anja
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  • Vierte Wiederaufnahme DIE WALKÜRE Erster Tag Des
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  • Gesamttext Als Download (PDF)
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  • Diegeheimnissederformbeirich
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  • Wagner Biography
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  • 05-07-2019 Walkure Eve.Indd
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  • Conventions of Greek Drama in Der Ring Des Nibelungen
    Nance 1 Conventions of Greek Drama in Der Ring des Nibelungen Any drama in the western tradition must be in dialogue with Greek drama. The heritage of drama is inextricably linked to the great Greek playwrights, for whom drama truly took on the role it continues to play: to replicate life in its most hyperbolic form. Their aim, the union of all arts, was later adopted by Richard Wagner, through the notion of a Gesamtkunstwerk, a total art work. However, despite Wagner’s very similar views as to the function of drama, vis-à-vis the Greeks, he had slightly more complicated opinions about drama’s structure, and the conventions through which it should be carried out. In Der Ring des Nibelungen, Wagner makes something of a return to Greek conventions, but finds ways either to invert or amplify them. Many of these changes help to emphasize a key theme in Wagner’s mature work: a shift from social consciousness to the consciousness of the individual. I. Deus ex machina The term deus ex machina (“god out of the machine”) is often applied to any contrived resolution to a literary problem. In Greek drama, though, it must refer to a divine figure who, at a climactic moment, offers aid to one character (e.g. Helios in Medea) or counsel to settle an argument between two antagonized characters (e.g. Heracles in Philoctotes). Perhaps the example most applicable to Wagner’s Ring Aeschylus’ Eumenides, in which Apollo creates a court to settle the argument between Orestes and the Furies, and manages to satisfy both.
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  • Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director
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  • Der Ring Des Nibelungen
    Wagner · Der Ring des Nibelungen Richard Wagner Der Ring des Nibelungen Ein Bühnenfestspiel für drei Tage und einen Vorabend Textbuch mit Varianten der Partitur Herausgegeben und kommentiert von Egon Voss Reclam RECLAMS UNIVERSAL-BIBLIOTHEK Nr. 18628 2009 Philipp Reclam jun. GmbH & Co. KG, Siemensstraße 32, 71254 Ditzingen Durchgesehene und überarbeitete Auflage 2017 Druck und Bindung: Canon Deutschland Business Services GmbH, Siemensstraße 32, 71254 Ditzingen Printed in Germany 2018 RECLAM, UNIVERSAL-BIBLIOTHEK und RECLAMS UNIVERSAL-BIBLIOTHEK sind eingetragene Marken der Philipp Reclam jun. GmbH & Co. KG, Stuttgart ISBN 978-3-15-018628-2 www.reclam.de Inhalt Der Ring des Nibelungen Das Rheingold. 7 Die Walküre. 99 Siegfried. 203 Götterdämmerung . 323 Kommentar Von Siegfried’s Tod zum Ring des Nibelungen – Werk und Biographie. 433 Zeittafel zur Entstehung. 444 Vorlagen und Quellen. 451 Intentionen, Ideen und Ideologien . 460 Text. 468 Dramaturgie . 473 Musik . 479 Das Rheingold . 488 Die Walküre . 499 Siegfried . 512 Götterdämmerung . 526 Überlieferung . 540 Textnachweise und Hinweise zur Textwiedergabe . 545 Literaturhinweise . 546 Vorabend: Das Rheingold Personen* [am Fuß der Seite jeweils die Fassung der Partitur] wotan (hoher Baß)** |U donner (hoher Baß) V Götter froh (Tenor) | loge (Tenor) W alberich (hoher Baß) VU Nibelungen mime (Tenor) W fasolt (hoher Baß) VU Riesen fafner (tiefer Baß) W fricka (tiefer Sopran) |U freia (hoher Sopran) |V Göttinnen erda (tiefer Sopran) W woglinde (hoher Sopran) |U wellgunde (hoher Sopran) |V Rheintöchter flosshilde (tiefer Sopran) W nibelungen [ folgt in der Partitur:]*** *** Personen der Handlung *** [die Angaben der Stimmlagen nach der Partitur] *** Besetzung des Orchesters: kleine Flöte, 3 Flöten, 3 Oboen, Englischhorn, 3 Klarinetten, Baßklarinette, 3 Fagotte, 8 Hör- ner, 4 Tuben (5.–8.
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