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Home , Germaine Lubin, Gottfried von Einem, Ondine (ballet), Rheingold (train), Rhinemaidens, The Mines of Sulphur

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CHANDOS O PERA IN ENGLISH

CHAN 3054(3) PETE MOOES FOUNDATION CHAN 3054 BOOK.qxd 25/7/08 11:30 am Page 2

(1813–1883)

AKG Richard The Rhinegold

Preliminary Evening to the Festival Play The Ring of the Nibelung Music drama in four scenes Poem by English translation by Andrew Porter

Gods Wotan ...... Norman Bailey - Donner...... Norman Welsby baritone Froh ...... Robert Ferguson Loge ...... Emile Belcourt tenor Fasolt...... Robert Lloyd bass Fafner ...... Clifford Grant bass

Richard Wagner

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Nibelungs ...... Derek Hammond-Stroud baritone Mime ...... Gregory Dempsey tenor Goddesses Fricka...... Katherine Pring mezzo-

Freia ...... Lois McDonall soprano V&A Museum, Anthony Crickmay/Theatre Erda ...... Anne Collins Rhinemaidens Woglinde...... soprano Wellgunde ...... Shelagh Squires mezzo-soprano Flosshilde ...... Helen Attfield contralto

Nibelungs

English National Orchestra Movement Group

Alberich and the Rhinemaidens, Scene 1

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COMPACT DISC ONE Time Page Time Page

Scene 1 13 ‘God of light, light of spirit!’ 5:09 [p. 146] 1 Orchestral prelude 5:01 [p. 134] Fasolt, Wotan, Fafner, Freia 2 ‘Weia! Waga! Wandering waters’ 1:33 [p. 134] 14 ‘To me, Freia! Back from her, !’ 1:17 [p. 147] Woglinde, Wellgunde, Flosshilde Froh, Donner, Fafner, Fasolt, Wotan 3 ‘He, he! You nixies!’ 1:40 [p. 135] TT 52:57 [p. 00] Alberich, Woglinde, Wellgunde, Flosshilde 4 ‘Slimy, slippery, slithery smoothness!’ 9:57 [p. 136] Alberich, Woglinde, Wellgunde, Flosshilde COMPACT DISC TWO 5 ‘Look, sisters! The sunlight is greeting the gold’ 2:41 [p. 140] Woglinde, Wellgunde, Flosshilde 1 ‘This bond is graved on my spear’s strong shaft’ 0:58 [p. 148] 6 ‘What’s that, you nixies…?’ 5:01 [p. 140] Wotan, Freia, Fricka Alberich, Woglinde, Wellgunde, Flosshilde 2 ‘What? How am I concerned in a contract?’ 4:15 [p. 148] 7 ‘The world’s wealth can be mine…?’ 1:01 [p. 142] Loge, Wotan, Fricka, Froh, Donner, Fafner, Fasolt Alberich, Woglinde, Wellgunde, Flosshilde 3 ‘Never one word of praise or thanks!’ 2:52 [p. 150] 8 ‘Still not afraid?’ 4:39 [p. 142] Loge Alberich, Flosshilde,Wellgunde, Woglinde 4 ‘But one I found then’ 2:02 [p. 150] Orchestral interlude Loge 5 ‘So I promised I’d tell you the story’ 1:05 [p. 150] Scene 2 Loge, Wotan, Fasolt, Fafner 9 ‘Wotan, my lord! Awaken!’ 6:12 [p. 143] 6 ‘A toy, while it was in the waters’ 2:01 [p. 151] Fricka, Wotan Loge, Wotan, Fricka 10 ‘For I wished you faithful and true’ 2:59 [p. 144] 7 ‘And I should possess it!’ 4:38 [p. 151] Fricka, Wotan Wotan, Loge, Donner, Froh, Fricka, Fafner 11 ‘Then shelter her now’ 2:24 [p. 145] 8 ‘Hear, Wotan, I’ll speak my last word!’ 2:29 [p. 152] Fricka, Freia, Wotan Fafner, Wotan, Fasolt, Freia, Froh, Donner 12 ‘Soft sleep closed your eyes’ 3:20 [p. 145] 9 ‘Over rock and stone they stride’ 3:07 [p. 153] Fasolt, Wotan, Fafner Loge, Fricka, Donner, Froh

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Time Page COMPACT DISC THREE Time Page

10 ‘I see now! Hear what is wrong!’ 3:13 [p. 154] 1 ‘Ohe! Ohe! Terrible dragon’ 3:20 [p. 163] Loge, Fricka Loge, Wotan, Alberich 11 ‘Come, Loge, descend with me!’ 5:11 [p. 155] 2 ‘Now swiftly up!’ 4:46 [p. 164] Wotan, Loge, Donner, Froh, Fricka Loge Orchestral interlude Orchestral interlude

Scene 3 Scene 4 12 ‘Hehe! Hehe! Come here! Come here!’ 0:56 [p. 156] 3 ‘There, Alberich, sit on your throne!’ 2:53 [p. 165] Alberich, Mime Loge, Alberich, Wotan 13 ‘Ha, you rogue!’ 2:25 [p. 156] 4 ‘And now the Niblungs will come to my call’ 3:12 [p. 166] Alberich, Mime Alberich, Wotan 14 ‘Nibelheim here’ 1:45 [p. 157] 5 ‘The gold lies there; now let me go’ 6:38 [p. 166] Loge, Mime, Wotan Alberich, Loge, Wotan 15 ‘What help for me?’ 5:06 [p. 158] 6 ‘Am I now free?’ (Alberich’s curse) 4:27 [p. 168] Mime, Loge, Wotan Alberich, Loge, Wotan 16 ‘Better take care! Alberich’s near’ 2:56 [p. 159] 7 ‘Fasolt and Fafner come this way’ 3:08 [p. 169] Mime, Wotan, Alberich Loge, Froh, Donner, Fricka 17 ‘What brought you here?’ 3:32 [p. 160] 8 ‘Wait! Don’t touch her yet!’ 3:12 [p. 170] Alberich, Wotan, Loge Fasolt, Wotan, Fafner, Loge, Froh 18 ‘In the clouds, you great ones’ 3:23 [p. 162] 9 ‘Far too loose you’re piling the gold’ 2:44 [p. 170] Alberich, Wotan, Loge Fafner, Loge, Wotan, Fricka, Donner 19 ‘All must stand in amazement’ 4:58 [p. 162] 10 ‘Freia, the fair one, see I no more’ 3:07 [p. 171] Loge, Alberich Fasolt, Fafner, Loge, Wotan, Freia, Fricka, Froh, Donner TT 56:54 [p. 00] 11 ‘Yield it, Wotan, yield it!’ (Erda’s warning) 5:44 [p. 173] Erda, Wotan, Fricka, Froh

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Time Page

12 ‘Hear, you giants!’ 2:13 [p. 174] Donner, Freia, Wotan Reg Wilson Reg 13 ‘Stop, you greedy one!’ 2:25 [p. 174] Fasolt, Fafner, Loge, Wotan 14 ‘Your luck, Wotan, what could surpass it?’ 2:25 [p. 175] Loge, Wotan, Fricka 15 ‘Sweltering mists hang in the air… Heda! Heda! Hedo!’ 2:47 [p. 175] Donner 16 ‘The bridge leads you homeward’ 1:52 [p. 176] Froh 17 ‘Evening rays flood the sky with splendour’ 4:21 [p. 176] Wotan, Fricka, Loge 18 ‘Rhinegold! Rhinegold!’ (Entry of the Gods into ) 4:53 [p. 177] Woglinde, Wellgunde, Flosshilde, Wotan, Loge Orchestral postlude TT 64:08 [p. 00]

Wotan and Fricka, Scene 2

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An Introduction to ‘The Ring of the several years, starting with a résumé of the Richard Wagner: The Rhinegold Nibelung’ story in prose before embarking on the text of Wagner conceived the idea of a musical drama what he called The Death of Foreword by Lord Harewood unique evidence of the singing of a past age. on the subject of the Nibelung myth in 1848, (‘Siegfrieds Tod’). By December 1856, The English National Opera, and before it Others will know HMV’s recordings, at around the time he completed the last of his however, he informed a friend that ‘the Sadler’s Wells, aims at Music Theatre, not published and unpublished, made at Covent traditional , . The Ring of the Nibelungs are beginning to bore me’; indeed grand opera. To some degree our repertory is Garden about the start of electrical recording, Nibelung can be enjoyed on many levels: as a he abandoned the Ring the following summer chosen with this in mind; to some degree, too, in 1926 and 1927: Melba’s Farewell, bits of a fairy story, political allegory or philosophical and did not resume its composition until this is a situation created by our habit of performance of Otello with Zenatello, and tract, for instance. In essence it deals with the 1869, by which time he had written bringing opera close to the audience, because excerpts from Boris and Mefistofele with timeless struggle between good and evil and and Isolde and The Mastersingers of Nuremberg. it is in the audience’s own language, rather Chaliapin. Many of us find them uniquely the contrast between the love of power and the From conception to completion the gigantic than holding it at arm’s length, as can happen valuable as providing not only audible proof of power of love. Wotan, chief of the gods, wants project took him twenty-six years: years of when it is heard in a foreign language, a style and standard of performance from power for ultimately benign purposes; turmoil both in his personal life and on the however well understood. We aim for the nearly fifty years ago but also as possessing a Alberich, chief of the Nibelungs, dwarfs who political stage of Europe. ‘immediacies’ of a theatrical experience, rather ‘live’ impact which is absent from the studio live underground, wants it for his own evil It was not just boredom that led him, as he than the cerebral process which results from recordings made at the same sort of time – ends. From Monteverdi’s Orfeo to Mozart’s put it, to leave his young Siegfried under the long study – each admirable but quite Chaliapin’s are a prime example of this. The Magic , from Rameau’s Hippolyte et linden tree, where he ‘bade him farewell with different, as different as being out in a shower So there is an element of consistency in an Aricie to Weber’s Der Freischütz, the heartfelt tears’. Having fled Dresden to avoid of rain is from a description of it. opera company, which attempts the juxtaposition of light and darkness has being arrested for his involvement in the For years there has been controversy among immediacy of Music Theatre, being associated fascinated composers of opera. Wagner revolution of 1848, he was living as an exile in record-buyers (I write as a heavy consumer of with the ‘reality’ of live recorded performance. recognised that all is not black and white but Zürich with scant prospect of ever seeing the gramophone records) about the merits of very largely shades of grey. Thus, Wotan Ring staged; and his compositional style was recordings taken from live performances as resorts to subterfuge and theft and describes changing so radically that he needed to work it compared with those made in the studio. Your himself as the dwarf’s alter ego, ‘Light- through, so to speak, with Tristan. That he dyed-in-the-wool collector will know the Alberich’, while Alberich, who after all should go on to complete the Ring and, re-recordings from Mapleson’s cylinders taken Lord Harewood acquires the Rhinegold by complying with the through his own efforts, have it performed in at performances at The Opera, Managing Director condition that he renounce love, is invested a purpose-built theatre is nothing short of a New York, in about 1900. They reach us English National Opera with dignity as well as malignity. miracle. through a hailstorm of static but still provide August 1975 Wagner worked on the words and music for His sources included five epics, in Icelandic,

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Middle High German and , all amount of background knowledge on the part of everything eternal’. This was not the version other things, that recur in the vocal line and, dating from the thirteenth century. As with all of the audience caused him first to expand he finally set to music, but it is an indication particularly, in the orchestra. They are much his operas, before and after the Ring, Wagner The Death of Siegfried and then to add what of his state of mind at the time he was more than the ‘visiting cards’ derided by wrote his own words. But, to the alarm of his we would now call a ‘prequel’, Young Siegfried composing the end of The Valkyrie and the Debussy (who was not above using the device friends, starting with The Death of Siegfried he (‘Der junge Siegfried’). Seeing the need for beginning of Siegfried. himself in Pelléas et Mélisande): plain revived an old poetic device called ‘Stabreim’ still further expansion backwards, he wrote the Having written the texts in the reverse repetition, melodic or harmonic modification, that made use of explosive alliteration rather texts of The Valkyrie and The Rhinegold. Young order, Wagner proceeded to compose the and combination – especially towards the end than scansion and rhyme. This was of a piece Siegfried was eventually renamed Siegfried and music from the beginning: thus he began The of the cycle – with other motifs, all serve to with his theories, expounded in essays written The Death of Siegfried became Twilight of the Rhinegold in 1853, a year after finishing the create a tightly woven tapestry. from his exile in Zürich, which were Gods, with significant omissions and changes, words, whereas in the case of Twilight of the Books have been written that assign names concerned among other things with the one of the latter being to the ending where the Gods, which he began in 1869, he was setting to the various motifs, but the more precise the interdependence of verbal and musical sounds gods now perished in the flames of their castle, words that he had written (albeit with later attempted definition of any of the more and the need for sung words to be audible; Valhalla. Acknowledging the influence of the revisions) twenty years earlier. Of course his abstract ones, the more elusive it can turn out from which it followed that ensembles and Oresteia and the plays of , musical style developed over that period, and to be. None of this need trouble the first-time choruses would no longer be appropriate. Wagner described the Ring as a trilogy (The the score of the latter opera is considerably listener, who will come to recognise the As it turned out, Wagner did not always Rhinegold being by way of an hors-d’œuvre). more subtle and complex than that of the themes after a few hearings. Not all the follow his own precepts: there is a full-blown In 1854 Wagner was introduced to the former. Yet the four operas, disparate as they connections are obvious, however: it is worth quintet, as well as choruses galore, in The writings of the philosopher Arthur are, hang together on account of the pointing out, to take but one example, the Mastersingers, and a chorus and a trio in the Schopenhauer – ‘a grouch of the most connecting device known as the similar contours of the ‘Valhalla’ and the ‘ring’ second act of Twilight of the Gods. The opera pronounced description’, as P.G. Wodehouse’s (from the German Leitmotiv, leading motif). motifs – noble and sinister, respectively – that begins the Ring cycle, The Rhinegold, Bertie Wooster puts it. The revised ending to There was nothing new about musical which confirm, or rather anticipate our provides a good example of Wagnerian theory the story of the Ring had been written before reminiscence in opera. A familiar example is impression that Wotan and Alberich are two in practice, but much work lay ahead before then; but Wagner wrote several different the little phrase on the that tells us, in sides of the same coin. Wagner could start on the music. At first he endings thereafter, while engaged in the Act II of Beethoven’s , that the sleeping Of the many delights of the Ring, not the was planning just one opera, which would end compositional stage of the cycle, including one Florestan is now dreaming of the wife about least is the orchestration. Wagner employs on a note of optimism with the moral and reflecting Schopenhauer’s pessimistic view that whom he has just been singing. Wagner’s enormous forces, but time and again it is a physical superiority of the gods firmly life was merely the negation of death. Here, achievement was to create a network of single – oboe, say, or established. The comment by one of his Brünnhilde achieves a state of Buddhist leitmotifs: short, pregnant phrases associated bass – that will express a situation or friends that the story required an unrealistic enlightenment by arriving at ‘the blessed end with individuals, objects, feelings and many give point to a vocal phrase. One of the Ring’s

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most characteristic tone colours is provided by provincial town of Bayreuth. The building of Unlike the subsequent Ring operas, each of phrase. Wagner is seeking to evoke the origin the so-called Wagner (played by the new theatre was financed by public which is in three acts, The Rhinegold runs for of all things, a virtual absence of time and members of the eight-strong horn section), subscription, Ludwig stepping in with help at a an uninterrupted span of some two-and-three- motion, using the same means as Beethoven at which indeed intone the ‘Valhalla’ motif in the critical moment. Wagner completed Twilight of quarter hours. The four scenes are separated the beginning of his Ninth Symphony. second scene of The Rhinegold. the Gods in 1874 and The Ring of the Nibelung by substantial orchestral interludes which Gradually the arpeggio is transformed into a By 1862 Wagner was no longer banned was given its first complete performance in brilliantly exemplify Wagner’s view of rush of semiquavers depicting the . from the German states. In the following year August 1876. By 1889 productions had been composition as ‘the art of transition’. After Wagner would have been happy to he published an edition of the text of the Ring seen all over the operatic world; they are still Alberich has seized the gold from its acknowledge the influence of Beethoven; he with a foreword in which he expressed the the yardstick by which any opera house aspiring guardians, the Rhinemaidens, for instance, the might not have cared to have the resemblance hope that a German prince would provide the to greatness has to be judged. fierce sound of the ‘ring’ leitmotif, anchored here to Mendelssohn’s overture Die schöne money to enable the cycle – still incomplete – by a pedal point on the dominant of C minor, Melusine pointed out to him, though he to be mounted in a specially built theatre. His © 2000 Richard Lawrence is softened successively by the woodwind, admired Mendelssohn’s music enough to prayer was soon answered. The eighteen-year- and horns before being transformed into perform it in his conducting days. old crown prince of succeeded to the The Rhinegold the stately ‘Valhalla’ motif on the brass. A As one would expect in a work intended as throne as King Ludwig II in 1864. He helped The autumn of 1853 was, in retrospect, a more extensive pedal point follows the second the background to the ensuing drama, many Wagner to pay off his debts, installed him in a momentous time for Wagner. He began scene and introduces the sound of Alberich’s (but by no means all) of the Ring leitmotifs are house in Munich, provided him with gifts of composing the music of The Rhinegold, and he team of smiths hammering away at eighteen present in The Rhinegold. One of the most cash and an annual salary, and encouraged met Cosima, the daughter of , who anvils. The B flat minor of Nibelheim significant, which is in two segments, comes him to proceed with his great work. was to become the mother of his children and, complements its relative major, the D flat of when the Rhinemaidens salute the gold: both Their relationship had its ups and downs, to eventually, his second wife. But whereas Valhalla, in another example of the connection the fanfare ‘Heiajaheia!’ and the two-note put it mildly; but it was thanks to Ludwig that Cosima was only fifteen and did not become between Alberich and Wotan. figure ‘Rhinegold! Rhinegold!’, modified Tristan and The Mastersingers had their his mistress until 1864, by which time she had The mother of all pedal points, though, is melodically and harmonically, take on new premieres at the court theatre, which also saw married the conductor Hans von Bülow and to be heard at the very beginning of the subtleties of meaning as the epic progresses. revivals of Wagner’s earlier operas. Productions borne him two daughters, the gestation of the prelude, where the double basses sustain a low Wagner considered the Rhinemaidens as a of The Rhinegold and The Valkyrie were given opera was rather less prolonged. The first draft E flat for no less than 136 bars. They are unit, despite giving each of them a name, so too, much against the composer’s will. Wagner was completed in under eleven weeks and joined a fifth higher by the ; then a from time to time, as here, they sing in was still determined that the complete Ring Wagner’s fair copy of the full score was ready horn steals in softly with a rising arpeggio, harmony. Elsewhere, however, he follows his should be performed in its own theatre, under in September 1854, when he was already half- then another and another, until all eight horns own rules to the extent that no character utters festival conditions. In 1871 he settled on the way through the first draft of The Valkyrie. are echoing and re-echoing this one elemental a word while another is singing. In fact, as

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suggested in the Introduction above, ashamed to be associated with the gods; yet he summons up a rainbow bridge. Wotan shakes Clearly the composer who involves his The Rhinegold is the locus classicus of joins them in their grand procession into off his depression at the turn of events and the audience creates a stronger emotional Wagnerian idealism. There are no ensembles, Valhalla. Wagner characterises him with gods enter their new castle. For this scene response, which can be accumulative. and the word setting is pretty much one note flickering motifs appropriate to a god of fire Wagner requires seven harps: six in the If you read the correspondence about the to a syllable, with no lyrical or rhetorical and, tellingly, with a phrase that partakes of orchestra and one to accompany the off-stage creation of an operatic masterpiece, two things effusions. The nearest that Wagner comes to both the two-note ‘Rhinegold! Rhinegold!’ Rhinemaidens. The chromaticism of their become startlingly clear. Firstly, the composer an aria is Loge’s great narration in Scene 2, motif and its chromatic modification. plaint is, so to speak, the worm in the bud, urges his librettist towards a goal while he which could be, and has been, performed as a Loge does not reappear, though his music but the audience’s abiding impression is one of himself continually modifies his sketch as he concert piece. does, and in Twilight of the Gods the Third unexampled splendour. How illusory that achieves his end. Frequently this development If Wotan is fundamentally good, with a Norn tells her sisters of his forthcoming end. splendour is becomes all too apparent as this continues after the first performance, either dark side, and Alberich fundamentally evil, Erda, on the other hand, is seen again in great drama unfolds. between the initial performances or for a later but possessing at least a sense of right and Siegfried. There she is baffled by the news The Rhinegold was first performed in revival. Two of the most successful arias in wrong, Loge is permanently ambivalent. brought by Wotan, the Wanderer. In Munich in September 1869. Its first Don Giovanni, ‘Dalla sua pace’ and ‘Mi tradì’, (The part, best taken by a Heldentenor [heroic The Rhinegold she is as all-wise as she claims to performance as part of the complete Ring cycle were not in the original Prague performance. tenor], is so coveted by character that be. Heralded by a soft rising phrase derived was at the in August 1876. Madama Butterfly as first performed was not the singer cast as Mime in Siegfried is often from the prelude, she urges Wotan to give up the opera we know today: Pinkerton never given Loge too, necessitating – but not here, the ring to the giants. She then foretells the © 2001 Richard Lawrence reappeared in the third act. fortunately – the employment of a different end of the gods. The crucial passage is at ‘All Second, you realise that the composer also singer for the Rhinegold Mime.) Loge is only a things that are, perish! An evil day [dawns] for The ‘Ring’ – In English? writes his opera for a specific theatre, a specific demi-god, denied Freia’s life-sustaining apples, the immortals’, where the rising phrase is met We all feel, somewhere at the back of our set of instrumentalists and singers, and a and he is mistrusted by the others: as Wotan by its opposite, a descending phrase in the minds, that a work of art springs fully formed specific audience. Mozart’s correspondence says, ‘Recall that I am your only friend’. We violins and violas that can be quite easy to from the soul of the creator, a feeling which with his father records not only the never know what Loge really thinks. Several miss. The scene, doom-laden though it is, conveniently overlooks the difference between concessions that he had to make to the lack of times he proposes that the gold should be provides a rare moment of respite between the nature and art. The creative process is a long technique of a particular singer but also the returned to the Rhinemaidens; yet to Fricka he squabbling gods and giants and the first result and detailed one, starting from a sketch effects he could achieve by exploiting the advocates its possession as a means of her of Alberich’s curse on the ring: the brutal and leading to a work that is polished and advantages of the forces at his disposition. restraining Wotan from non-connubial murder of Fasolt by his brother Fafner. re-polished. In the performing arts more than Many of Rossini’s coloratura mezzo roles were roaming, and willingly mocks the The clouds that have symbolically gathered in other art forms the creator has always written for his mistress Isabella Colbran. Even Rhinemaidens as they lament their loss. He is are dispersed by Donner’s hammer, and Froh shaped his work to his particular audience. the censorship was frequently a formative

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force, and the word formative is used performances. In the same way, the D’Oyly Whenever an opera house thinks it recreation. Its enormous success is due to the intentionally. Un ballo in maschera owes its Carte Opera Company repeats the original opportune to mount a production of a certain fact that the work was made available to many present tightly wound form to Verdi’s battle stagings, and the shining example of the work that is not already in its repertoire, the who had been unable to appreciate this great with the censor. Yet the public was perhaps the success of this system today is the American director has to decide whether to reproduce or masterpiece in reproduction. The Ring is not strongest external force. The opera composer, a musical such as West Side Story, which to recreate, regardless of whether the composer reserved for the connoisseur. It is now available man of the theatre, knew that the success of preserves every gesture of the original is alive or dead. If the opera is set in a to everyone, and the purpose of this recording his work, and his own success, depended on conception. In this way the creator’s original language unintelligible to the audience, the is to make it available in the living rooms of the response of his audience. Maximum intentions are available to us today, with the choice is basically between reproduction in the the many people who will never be able to response comes not only if the work is advantages of authenticity. original language or recreation in translation. participate in the theatre performances. The artistically successful but also if the work is in Freezing the piece into a fixed stamp can, Either choice runs the risk of failure, but a Peter Moores Foundation is proud to give this step with the literary, political, nationalistic however, create disadvantages. The recreation, without the composer, has a chance great performance a chance to be more fully and extra-aesthetic consciousness of that performance cannot develop and the of more serious failure or of a greater success. appreciated. audience at that moment in that place. The performers are tied into a corset of fixed The settings, the staging, the translation, the young composer fitted his work to suit his routine. The piece cannot change with the musical edition to be used, can be tailored to audience; the established composer selected movement of social tastes and, if it is suit the theatre, the artists available and, the city which would appreciate his new work. reproduced in the same manner in a different perhaps most important, the emotional © 1975 Peter Moores This was not only a question of regional country or continent, its relevance to its new temperature of the public at the time and in differences, as Mozart even used two different audience may be severely impaired, especially that place. Often the translation can not only …And the English Alberich can now musical and verbal languages for his Imperial if language barriers intervene. make the work comprehensible and thus justifiably reproach the German Alberich with audience in Così fan tutte and for his popular The new work is often brought out again available and immediate to each member of the words, ‘How darkly you tell me what so audience of the same city in Die Zauberflöte. some years later and the composer recreates it. the audience by speaking to him in his own clearly I know’. A new English translation of Gluck, Rossini, Donizetti and Verdi wrote Orfeo, , Don Giovanni, Fidelio, Simon language, but also clarify a text which exists in The Ring was specially made for the their operas to French and to Boccanegra, , Cardillac, a dated or obscure form. A criticism on this production of the tetralogy at the Coliseum in the Parisian taste. Troilus and Cressida – the list runs on. Would subject from the German newspaper Die Welt, by Andrew Porter, now the highly What happened to the opera when it Mozart have rewritten Le nozze di Figaro if he which is reported below in an English esteemed musical critic of the influential reached the stage? The premiere was had recreated it for London in 1830? Would translation, is illuminating on the subject of a American periodical The New Yorker. It is a supervised by the composer and, once the Bizet, if he had lived so long, not have modern German’s problems with Wagner’s remarkably successful one, for the task was musical structure was set, this production composed sung recitatives for when it verbal convolutions. anything but simple. Thanks to Porter’s skill, it became the stamp for all subsequent was taken up at the Opéra? The ‘English Ring’ at the Coliseum is a is now only in the view of caricaturists that

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Siegfried consists of one long drawn-out fifty years to have conducted the Ring in That is the original sin and that is what the who were forced by their leader Alberich, after succession of ‘Hoho! Hahei!’ and a few ‘Heils’, German and English. When it is sung in whole Ring is about: Adam and Eve in the the events of Scene 1, to serve his world- which, to be sure, sound much more civilised German the audience, few of whom Garden, the death of the world’s innocence, dominating ambitions. But they never as soon as they are turned into English ‘Hails’. understand the language, sits there waiting for the destruction of a world system. The Ring succeeded in subduing the giants, and as for Porter’s translation was admittedly very the big moment; the emphasis is almost poem has the potency and timelessness of the ultimate control of the world, that much helped by the fact that there are many entirely on the music and not on the text. In myth. That is what it is all about and that is belonged to the race of gods, spirits of light more words of one syllable in English than English I enjoy the immediacy of the work – what makes the Ring deeper. and air led by Wotan who exercised there are in German, and this is an advantage you feel it in the audience because they Yes, I am a perfectionist – not for detail but benevolent rule from above the earth. of which he was able to make effective use. understand. This is a wonderful sensation – it for the mood and meaning. I do not think the The Rhinegold, the Prologue to this epic The English are now the owners of the makes up for any lack in the translation of Valkyrie recording can be a perfect drama, takes place in these first days of life on twentieth-century Ring, while we, with our binding together the words and tone. Wagner performance, although I have never been so earth, and it is played out between these three teeth that are losing their bite, still have to wanted the Ring to be understood. The text happy as I was with Curphey and Remedios in races of creation. Close to the gods but not of chew away at the language of Wagner, which was written first and evoked the music. that first act. I do prefer live recording because their number are Loge, the spirit of fire and sounds more and more discordant to us as the Wagner started writing the text of Siegfried’s I feel that an audience contributes to the subtlety whom Wotan tamed and befriended, years go by. It is a strange thing, but Porter’s Death and he found he needed to explain what performance – Siegfried and Rhinegold are and Erda, Mother Earth, the source of all translation gives Wagner’s a limpid, led up to that, almost right from the marvellous: you hear just a ripple of laughter wisdom and mother of the three Norns, or clear-cut distinction that is exceedingly beginning, the original sin, that sacrificing of which, I think, is right; and I like that on the Fates. The last of the four elements, water, is impressive. The possibility of sampling it and love for power and greed which rebounds on record: I think you should laugh at times in the first to appear in the opera – the River appreciating it alone is just one of the virtues Siegfried, although he is in a way guiltless. the Ring – it becomes alive. Rhine and its three maidens. of this recording… Leave nature as it is. The Rhine flows on for Extract from ‘Alberich singt an der Themse’ no reason at all. It is just nature. God or © Reginald Goodall Compact Disc One (Alberich sings beside the Thames) by nature, whichever you like, in its wisdom hid ‘Discophilibus’ in Die Welt, 30 November 1974 the atom and we’ve discovered it. And when Synopsis Scene 1 you think what the atom can do… We have In the beginning, when the world was young, On the bed of the Rhine The Goodall ‘Ring’ destroyed in the last fifty years more than in the earth was peopled by a race of giants: 1 The prelude at once plunges us to the very People may call it ‘The Goodall Ring’ but it is the aeons before. We are poisoning the oceans; simple, strong, hardworking folk content to bottom of the Rhine. The darkness is at first Everybody’s Ring, The English National ‘Ring’. we have destroyed half the animals of nature. lead simple lives. Their only troubles were so intense that we hear and perceive, but The whole beauty is that it is a joint effort. Nature is so finely balanced that we disturb caused by clashes with the race of Nibelungs: cannot yet see, the vastness of the expanse and They say that I am the only man in the last the purity of the world. We cannot help it. dwarfs who lived in caverns underground and the gently hovering groundswell of the waters

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(eight horns playing a rising E flat arpeggio dart rapidly from rock to rock, mocking his Scene 2 keeping his promise to hand over Freia in one after another). Gradually the senses efforts. Open space on a mountain height exchange for Valhalla and is relying on his become aware of the faster currents above, and 5 Suddenly a bright light begins to gleam When the clouds fade away, to the tune of the slippery adviser Loge (who had suggested the of the rocky eminences on the river bed, from higher up on the central rock; the ‘ring’ theme on horns, we find ourselves bargain) to find another means of satisfying stretching far into the distance. 2 A , sunlight has pierced through the waters to light transported to the top of a high mountain far the giants. one of the Rhinemaidens, Woglinde, swims up the Rhine’s gold; cheerfully the above the Rhine. Wotan and his wife Fricka 11 Freia enters in great distress, and 12 is into view, singing an only partly intelligible Rhinemaidens praise the treasure which they are lying there fast asleep, and when dawn shortly followed by the two giants who built song as she plays round the most imposing of guard. 6 Alberich grows inquisitive, and learns breaks it discloses an enormous glittering the castle and have come to claim their wages: the rocks. One of her sisters, Wellgunde, joins that it is not merely a glittering ornament but, castle perched on a mountain farther away. It Fasolt is infatuated with Freia’s beauty; his her in a game of chase, and a third, Flosshilde, if forged into a ring, would give the wearer is Valhalla, Wotan’s status symbol (and the brother Fafner, more cynical and scornful, dives down, scolding them for their careless power over all the world. Flosshilde thinks that resemblance of the ‘Valhalla’ theme, for only wants to remove Freia’s powers of guardianship of the gold which sleeps higher they have said too much until Woglinde Wagner tubas, to the ‘ring’ theme just heard rejuvenation from the gods, since without her up on the rock. But she, too, is dragged into reminds her that the gold can only be obtained reminds us that it, too, is a symbol of power, they will quickly droop and die, leaving power the game. As they chase one another, a sinister by someone willing to forswear love (‘He must and that Wotan and Alberich are not as to the giants. 13 They resist Wotan’s weak shadow disturbs the pale haze on the riverbed. pronounce a curse on love’), which nobody, dissimilar as either would want to think). effort to make them name another form of 3 Alberich has climbed through a cleft in a least of all this lovesick hobgoblin, is prepared 9 Fricka wakes first, sees the newly built payment. 14 Freia’s brothers Froh and Donner, rock and is eavesdropping on the innocent to do. But they have relaxed their guard too castle, and rouses her husband, who is the one all radiant geniality, the other an play of the graceful water nymphs. He soon: 7 Alberich, spurned in love and delighted by its splendour (‘Completed, the aggressive tough, are just in time to prevent attempts to fraternise with them, but they are endlessly greedy for power, is perfectly willing eternal work!’). She, on the other hand, Freia from being dragged away. Wotan stops repelled by his ugliness, and Flosshilde to pay the price for the gold. He has clambered reminds him anxiously that it has to be paid Donner from quelling the giants by brute suspects him of loitering with intent. But from up to it before the Rhinemaidens notice; for, and the price, agreed with the giants who force (‘Force will not serve!’). his lecherous invitations it is clear that he is 8 terribly he calls out his curse on love, built it, is possession of Fricka’s sister Freia not a danger to their gold. 4 They decide to snatches up the gold and disappears into the (sometimes called Holda), goddess of eternal Compact Disc Two tease him and each in turn makes him scurry depths. The wails of the Rhinemaidens are youth and guardian of the sacred rejuvenating up and down the rocks after her, though echoed by his mocking laughter. apples. Fricka is angry because the price was 1 – 2 Loge at last arrives; he has been testing only the third, Flosshilde, allows him to get Darkness descends again, the waters are agreed in her absence, but she wants the castle the quality of the builders’ work and close to her, and she quickly escapes. Now heard flowing onwards; horns English and as much as Wotan, 10 if only in the hopes 3 resents the insults heaped on him for his Alberich’s passions are provoked and he chases German recollect the melody of the curse on that it will keep him at home, out of tardy appearance (‘Never one word of praise or even more furiously after the girls, while they love; clouds cover the scene. adulterous temptation. He has no intention of thanks!’). He has also been searching

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everywhere for a substitute payment. But no Freia. They slip through a crevice in the rock labour. Seeing Wotan and Loge, he dismisses soon consents because he knows that the ring one, it seems, can name anything more and descend through the inside of the the others with a twitch of the ring, which can replenish and infinitely increase his desirable than a good, beautiful woman – mountain, down to subterranean caverns sends them screaming in terror back to their stockpile. 4 He works his spell and the 4 only one man, Alberich, was prepared to where the Nibelungs, Alberich’s slaves, can be tasks. 17 Loge now makes friends with Nibelungs bring up the treasure from their give up love for the power of the Rhine’s gold heard ceaselessly forging away at their anvils Alberich, introducing himself as the old and caves. 5 When he demands his freedom, Loge and an omnipotent ring forged from it. Loge (eighteen of them are specified in Wagner’s trusty spirit of fire. 18 Alberich is not much insists on retaining the , and Wotan tells the tale of Alberich’s theft as if merely score). calmed, and he also recognises Wotan; 19 but on the addition of the ring. Alberich, aghast, passing on a complaint from the his delusions of power make him bold and he offers anything else, even his own life, but Rhinemaidens; 5 but it does not leave the Scene 3 boasts of his achievements, notably the quickly realises that this, too, would rob him giants unmoved – 6 nor, indeed, the gods. A subterranean cavern Tarnhelm. Loge pretends incredulity and dares of the ring. It is seized from him by Wotan, he 7 Each team decides that this gold is 12 While the travellers are still finishing their Alberich to demonstrate the virtues of the is untied and 6 at once (‘Am I now free?’) extremely desirable and Loge assures Wotan descent, a broad cave is seen into which magic cap. pronounces a fatal curse on anybody else who that it can be got without abandoning love, Alberich has dragged his brother Mime to takes possession of the ring: everybody shall but simply by theft – no crime at all, he adds, make him surrender his latest piece of Compact Disc Three desire it, every owner go in terror of losing it, if Wotan is going to return the gold to the workmanship. This is a magic golden cap, and be hounded to a wretched death until it Rhine. 8 Fafner announces that Freia may called the Tarnhelm, which grants the wearer 1 Alberich obligingly turns himself into a returns to Alberich. With this impressive remain with the gods if Wotan will, instead, unlimited powers of invisibility or monstrous dragon, then, after a further taunt, imprecation he departs, leaving in his wake a pay the giants in Alberich’s gold. Wotan metamorphosis. Alberich wrests it from the into a tiny toad. Wotan promptly treads on terrifying, baleful theme. protests in vain that the gold is not his to maker, who claims it is still faulty, and 13 at the toad, Loge removes the Tarnhelm and ties 7 The other gods return. Almost at once hand over; the two giants seize Freia as once tests it successfully, making himself up the captive dwarf. 2 They convey him up Fasolt and Fafner bring Freia back and, hostage, promising to return the same evening invisible and thrashing Mime for his to the rocky height, passing as before through 8 seeing the gold, announce that for a just and, if the gold is forthcoming, give her back. attempted dishonesty. Mime is still the vicinity of the anvils and at length up the reward it must be piled up to such a height 9 – 10 As soon as they have departed it whimpering in a corner when 14 Wotan and crevice. and breadth as to obscure Freia from sight. becomes apparent that without Freia and her Loge arrive, 15 quickly finding out from him 9 Their greedy insistence is not satisfied until apples the gods are growing grey and listless, about the working conditions in Nibelheim Scene 4 the Tarnhelm has been added; 10 even then deprived of all power to act. 11 Wotan and the magic of the Tarnhelm. Hastily Loge Open space on a mountain height Fasolt finds a tiny hole through which he can decides, much to the relief of Fricka and the promises help for the dwarf-workers, as 3 Wotan and Loge bring Alberich, firmly espy Freia’s radiant glance, and he demands rest, to go down with Loge to Nibelheim and 16 Alberich charges in, driving a horde of bound, out on to the plateau and inform him the ring to fill it. Wotan categorically refuses; take possession of the gold so as to ransom Nibelungs heavily laden with the fruits of their that the gold is the price of his freedom. He he has now abandoned all pretence of

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surrendering it to the Rhinemaidens, and the ’ chatter. The Rhinemaidens are (Prokofiev’s War and Peace) and the Forester College of Music). After two seasons with the intends high-handedly to keep it for himself. still wailing while the gods cross the bridge (The Cunning Little Vixen) among other roles. Glyndebourne Festival Opera, where among The giants prepare to depart with Freia, this and enter Valhalla, upon which The Rhinegold With , Covent Garden he has others he sang the title role in Falstaff, he time for ever; 11 but an apparition of Mother ends with a superb orchestral postlude appeared as Balstrode (Peter Grimes, also on joined Sadler’s Wells Opera (later English Earth (‘Yield it, Wotan, yield it!’) warns involving six harps. tour to Palermo) and as Germont National Opera), making his debut as Masetto Wotan that the ring must be surrendered since (La traviata), Ford (Falstaff ), Wolfram (Don Giovanni). A variety of roles with the the gods are in any case fated to pass away. William Mann (Tannhäuser), Kurwenal (), company stretched from Liberto in 12 Wotan is persuaded; he throws the ring © The Estate of William Mann Donner ( ), Wotan The Coronation of Poppea to Pentheus in the on the pile of treasure and welcomes Freia Reproduced by permission of (Die Walküre), Klingsor and Amfortas British premiere of ’s back. 13 At once the giants begin to quarrel David Higham Associates ( ), Jochanaan (Salome) and the Music , and included also the title role over division of the gold, and when Fasolt, on Master (Ariadne auf Naxos). Recent roles have in , the Speaker Loge’s advice, tries to snatch the ring Fafner Born in South Africa, the bass-baritone included Oroveso (Norma), Banquo (), Alfio (Cavalleria rusticana), raises his cudgel and kills him, then calmly Norman Bailey studied in Vienna and spent (Macbeth), the King (Aida), the Doctor Silvio (Pagliacci), Escamillo (Carmen) and finishes heaping Freia’s ransom into a sack his early career singing in Austria and (Wozzeck) and Schigolch (Lulu). His Schlemil (The Tales of Hoffmann). He also sang which he puts on his back, and departs. . He then returned to the United international career has taken him to major many roles with The Royal Opera, Covent 14 – 15 The air is still thick with mist which Kingdom where he has sung with all the major opera stages and festivals throughout Europe Garden. Donner dispels by creating a sensational opera companies. As one of the leading and the United States, including several thunderstorm (‘Heda! Heda! Hedo!’). 16 Froh Wagner singers of his generation he is seasons at Bayreuth, and to collaborations with Born in Athens, the tenor Robert Ferguson throws a rainbow bridge across the valley, and associated particularly with the title role in conductors such as Sir Colin Davis, Sir Georg studied at the Royal Manchester College of the castle of Valhalla is once more visible. Der fliegende Holländer and Hans Sachs in Solti, James Levine, , Music (later the Royal Northern College of 17 Wotan again salutes his new fortress Die Meistersinger von Nürnberg. He has also Wolfgang Sawallisch, Claudio Abbado and Music) under Frederick Cox. He sang (‘Evening rays flood the sky with splendour’), sung the Landgraf in Tannhäuser with Opera Daniel Barenboim. For Chandos he has Pinkerton (Madam Butterfly) and Don Ottavio and the gods prepare to cross the rainbow North and Wotan/the Wanderer and recorded the title role in Sir Michael Tippett’s (Don Giovanni) with Yorkshire Opera, and bridge, though Loge confesses shame at being with English National Opera, where as King Priam. made his debut at Sadler’s Wells Opera (later associated with them. 18 As they all step on company member he also sang Pizarro English National Opera) as Pinkerton, going the bridge the Rhinemaidens are heard (Beethoven’s Leonore), Count di Luna The baritone Norman Welsby was born in on to sing such roles as Nero (The Coronation bewailing the loss of their gold. But Wotan has (Il trovatore), Alfio (Cavalleria rusticana), Warrington, Lancashire and received his of Poppea), Turiddu (Cavalleria rusticana), now, by deceit, made himself powerless to Scarpia (), the Father (Hansel and Gretel), musical training at the Royal Manchester Camille () and Tikhon assist them and he crossly tells Loge to stop Prince Gremin (Eugene Onegin), Kutuzov College of Music (later the Royal Northern (Kát’a Kabanová).

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Born in Saskatchewan, Canada, Emile Opera Company, , and The Opera (Pelléas et Mélisande), Oedipus Rex and Peter Grimes. Other Belcourt first trained as a light baritone at the Seattle Opera where he sang Tristan. His the Festival (Le nozze di Figaro, engagements have included roles at The Royal Academy of Music in Vienna, becoming a involvement with contemporary opera has Don Giovanni and ), The Opera, Covent Garden, Welsh National member of the opera companies in Ulm and included Malcolm Williamson’s The Violins of , New York Opera, Glyndebourne Festival Opera, L’Opéra Bonn where he sang such roles as Don Saint-Jacques and Lucky-Peter’s Journey, (Die Zauberflöte, Fidelio, , Aida and de Marseille, San Francisco Opera and in Giovanni, Guglielmo (Così fan tutte), Sharpless Sir Richard Rodney Bennett’s A Penny for a ), San Francisco Opera (L’incoronazione di Sydney. After appearing in Meyerbeer’s (Madama Butterfly), Escamillo (Carmen) and Song, Iain Hamilton’s The Royal Hunt of the Poppea and Don Carlos) and Lyric Opera of Les Huguenots with Opera Australia in 1990 he Dr Falke (Die Fledermaus). Deciding to Sun and David Blake’s Toussaint L’Ouverture. Chicago (Simon Boccanegra). He has sung retired from opera but returned to the stage in instead as a tenor, he moved to Paris to study under the world’s most distinguished 1993 to sing Alvise Badoero in La Gioconda with Pierre Bernac and Germaine Lubin. After Born in Essex and educated at Oxford conductors and is an exceptionally active with Opera North. He has collaborated with a broadcast performance of Debussy’s Pelléas et University, Robert Lloyd turned from concert, recording and broadcast artist. He was such distinguished artists as Dame Joan Mélisande in Paris, he was engaged to sing academic historian to singer at the age of created a CBE in the 1991 New Year’s Sutherland, Otto Klemperer, Sir Adrian Boult Pelléas at Scottish Opera, then Gonzalve in twenty-eight. He was appointed Principal Bass Honours List. and Sir Colin Davis. Ravel’s L’Heure espagnole under at with The Royal Opera, Covent Garden where the , Covent Garden. he has sung an enormous range of repertoire The Australian bass Clifford Grant trained in The English baritone Derek Hammond- Moving to England, he began a long and was the first British bass to sing the title Sydney, Melbourne and London, and made Stroud studied with Elena Gerhardt and association with Sadler’s Wells Opera (later role of Boris Godunov, in the late Andrei his operatic debut with the New South Wales Gerhard Hüsch in Munich and London, and English National Opera) which included, Tarkovsky’s production. This production, with Opera Company as Raimondo in Lucia di his career has embraced both the recital besides his famous Loge in The Rhinegold, Robert Lloyd as Boris, later travelled to the Lammermoor. He joined Sadler’s Wells Opera platform and the operatic stage. He has sung roles in Orpheus in the Underworld, Bluebeard Kirov Opera in Leningrad where it was (later English National Opera), where he has with all the major British opera companies and . His repertoire has ranged from televised internationally, and to the Vienna appeared as Seneca (The Coronation of Poppea), while his engagements in Europe have Herod (Salome) and participation in the State Opera where it was conducted by the Commendatore (Don Giovanni), Sarastro included ones at the , the British premiere of the three-act version of Claudio Abbado. He has sung the role also in (The Magic Flute), Silva (Ernani), Padre Theater an der Wien, the Theater am Berg’s Lulu at Covent Garden to Eisenstein and Florence. Besides recent Guardiano (The Force of Destiny), Philip II Gärtnerplatz and three seasons with The (Die Fledermaus) and Count Danilo appearances at Covent Garden (which include (Don Carlos), King Henry (Lohengrin), Pogner Netherlands Opera. In South and North (The Merry Widow), as well as the leading role Roméo et Juliette, Chérubin and Samson et (The Mastersingers of Nuremberg), Fafner, America he has sung at the Teatro Colón, in Man of La Mancha in London’s West End. Dalila), he has visited the Teatro alla Scala, Hunding and (The Ring of the Buenos Aires and with The Metropolitan He has appeared also with Welsh National (Der fliegende Holländer and Parsifal), Nibelung) and in leading roles in The Barber Opera, New York and San Diego Opera Opera, Châtelet théâtre musical, the Canadian Deutsche Oper, Berlin (Tristan und Isolde), of Seville, Rigoletto, Madam Butterfly, , among many others. Major roles have

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included Dr Bartolo, Rigoletto, Fra Melitone Erik (The Flying Dutchman), David Prince Orlofsky (Die Fledermaus), Carmen, Flensburg she sang Constanze (Die Entführung (La forza del destino), Sharpless, Tonio (The Mastersingers of Nuremberg), Mime, Don Jocasta (Oedipus Rex), and Agave in the British aus dem Serail ), Elsa (Lohengrin), Tosca and (Pagliacci), Papageno, Alberich, Beckmesser, José, Canio, Gregor (The Makropulos Affair), stage premiere of Henze’s The Bassarids. She Arabella before making her first appearance Faninal (), Krusvina Skuratov (The House of the Dead ), Tom made her debut at The Royal Opera, Covent with Sadler’s Wells Opera (later English (The Bartered Bride) and Sir Robert Cecil Rakewell and Essex (Gloriana). He has also Garden as Thea in Tippett’s The Knot Garden, National Opera) as Handel’s . (Gloriana) besides numerous roles in works by been a frequent guest with The Royal Opera, returning to sing Preziosilla (La forza del Subsequent roles with that company included and by Offenbach. He Covent Garden, Welsh National Opera and destino) and Kate Julian (Britten’s Owen Ilia (Idomeneo), the Countess (The Marriage of has taken part in several first British stage Scottish Opera, and has sung at the Wingrave). She sang Baba the Turk (The Rake’s Figaro), Donna Elvira and Donna Anna, productions, including Haydn’s Orfeo ed Edinburgh and Aldeburgh Festivals. Abroad he Progress) at the Glyndebourne Festival, Delilah Fiordiligi, the title role in Euryanthe, Lucrezia Euridice (as Creonte), Rossini’s La pietra del has appeared with San Francisco Opera as well (Samson and Delilah) at English National Contarini (I due Foscari), Gilda, Violetta, paragone (as Pacuvio), War and Peace (as as in Brussels, and other European Opera North (later Opera North), Brangäne Massenet’s Manon, Rosalinde (Die Fledermaus), Napoleon, with English National Opera) and cities. Now residing in Australia, he has (Tristan und Isolde) in Düsseldorf, Princess the Marschallin (Der Rosenkavalier), Jenny Gottfried von Einem’s Der Besuch der alten performed frequently with The Australian Marina (Boris Godunov) in Frankfurt and (Sir Richard Rodney Bennett’s The Mines of Dame (as the Schoolmaster, at Glyndebourne). Opera (later Opera Australia) and with Preziosilla at the Paris Opéra. She made her Sulphur) and the title role in the world He created the role of the Old Fisherman in Victoria State Opera, and has also appeared at American debut as Carmen at San Diego premiere of Iain Hamilton’s Anna Karenina, the world premiere of Malcolm Williamson’s the Adelaide Festival (the title role in Opera, returning two years later to sing besides Freia in the famous Ring cycle under The Violins of Saint-Jacques at Sadler’s Wells. The Excursions of Mr Broucvek and Mark in Princess Eboli. As an established concert and Reginald Goodall. In addition to The Royal He has received many honours including, in Tippett’s The Midsummer Marriage). recital singer she has performed with Opera, Covent Garden, she has also appeared 1987, the OBE. world-renowned conductors such as Claudio with Welsh National Opera, Scottish Opera, The mezzo-soprano Katherine Pring was Abbado, Christoph von Dohnanyi and Dublin Grand Opera and at the BBC The Australian tenor Gregory Dempsey, born educated at the in Sir . Promenade Concerts. Her recordings include, in Melbourne, made his debut as Don Ottavio London and at the Conservatory, and for Opera Rara, Donizetti’s Maria Padilla. for the Melbourne National Opera Company made her operatic debut as Flora (La traviata) The Canadian soprano Lois McDonall gained before joining The Elizabethan Trust Opera at the Grand Théâtre in Geneva. Joining a special reputation for her naturally beautiful The contralto Anne Collins studied at the Company. His appearance as Jenik in Sadler’s Wells Opera (later English National voice and secure technique which permitted Royal College of Music and made her London The Bartered Bride with Sadler’s Wells Opera Opera), she sang such roles as Ottavia her to sing Mozart and with debut with a recital in the Purcell Room. Soon (later English National Opera) led to his (The Coronation of Poppea), Dorabella (Così equal stylishness. She made her debut with the after, she joined Sadler’s Wells Opera (later becoming resident tenor with the company. fan tutte), Azucena (Il trovatore), Princess Eboli Canadian Opera Company in Wolf-Ferrari’s English National Opera) where her repertoire His many roles have included Florestan, Max, (Don Carlos), Suzuki (Madam Butterfly), Il segreto di Susanna. At Städtische Bühnen, has encompassed roles in The Coronation of

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Poppea, Count Ory, A Masked Ball, Madam Salzburger Landestheater for one season before Bergen International Festival and in Vienna performances in the has Butterfly and Arabella, as well as Dame Quickly joining the D’Oyly Carte Opera Company as and Japan. Her wide repertoire includes also been seen on the concert platform. In (Falstaff ), Katisha (), Mrs Sedley Principal Soprano. She has sung with all the Ottavia (L’incoronazione di Poppea), Marcellina addition many of the players participate in the (Peter Grimes) and several parts, including most major British opera companies, including the (Le nozze di Figaro), Ulrica (Un ballo in work of the Baylis Programme of the famously Erda, in Wagner’s Ring cycle. She has Glyndebourne Festival Opera, and abroad has maschera), Magdalene (Die Meistersinger von Company’s education and outreach sung frequently with The Royal Opera, Covent appeared at the Aix-en-Provence Festival, the Nürnberg), Herodias (Salome), Annina department and with the English National Garden and has also performed with Welsh Paris Opéra, and at opera houses in Toulouse, (Der Rosenkavalier), Adelaide (Arabella), Opera Studio in the development of new National Opera (Filipyevna in Eugene Onegin), Nancy, Montpellier, Geneva, Prague, Munich, Martha (Faust), the Witch (Rusalka) and operas, in particular Mark-Anthony Turnage’s Opera North (the Nurse in Ariane et Barbe- Milan, Barcelona, Dublin, Santiago, San Filipyevna (Eugene Onegin). The Silver Tassie which had its world premiere Bleue and Auntie in Peter Grimes) and Scottish Francisco, Houston, Chicago and New York. in February 2000. The Orchestra appears in Opera (James MacMillan’s Ines de Castro), and Her vast repertoire ranges from Monteverdi’s The contralto Helen Attfield studied at the many recordings, including Verdi’s Otello has appeared at the Glyndebourne, Aldeburgh, L’incoronazione di Poppea to Britten’s The Turn Royal Academy of Music where she won many under Mark Elder which is soon to appear on Wexford and Camden Festivals and at the BBC of the Screw, in addition to which she also sang awards. With the English Opera Group she Chandos under the sponsorship of the Peter Promenade Concerts. She has performed in in the world premiere of Henze’s We Come to sang in the world premiere of Britten’s Death Moores Foundation. Other recordings for concert, at festivals and with opera companies the River and the British premiere of Sallinen’s in Venice. Besides having sung several roles Chandos/Peter Moores Foundation are throughout Europe, including the opera houses The King Goes Forth to France, both at the with English National Opera, she appeared as Mary Stuart, Julius Caesar, The Barber of of Lyon, Strasbourg, Geneva and Hamburg, Royal Opera House, Covent Garden. Her Maddalena (Rigoletto) with Welsh National Seville, Rigoletto (Jonathan Miller’s the Paris Opéra and Châtelet théâtre musical, many recordings include, for Chandos, Julius Opera and also performed with the Handel production), La traviata and . the Théâtre royal de la Monnaie in Brussels Caesar and La traviata, both in association Opera Society and, abroad, with Brussels and the Teatro alla Scala in Milan. American with the Peter Moores Foundation. She was Opera. The English conductor Reginald Goodall was appearances have included The Metropolitan awarded the CBE in the Queen’s Birthday born in 1901 and studied conducting under Opera in New York. She has made many Honours List in 1989. Critically and publicly acclaimed, the English and Constant Lambert at the recordings, among them, for Chandos, the National Opera Orchestra (Leader Barry Royal College of Music. From 1929 to 1936 Grammy-award-winning Peter Grimes under Shelagh Squires studied at the Guildhall Griffiths) has in recent years received several he was organist and choirmaster at St Alban Richard Hickox. School of Music and Drama. She has appeared prestigious awards, including the Royal the Martyr, Holborn, where he conducted the with English National Opera, at the Philharmonic Society Music Award and an first British performances of choral works by Born in and having studied in Glyndebourne Festival and Touring Operas, Olivier Award for Outstanding Achievement in Bruckner, Stravinsky and Szymanowski, as London and Milan on scholarships, the and The Metropolitan Opera, New York Opera. The Orchestra is at the heart of the well as early works by Britten. During the late soprano Valerie Masterson sang at the among others; she has also performed at the Company’s artistic life and as well as opera 1930s he worked as assistant to Albert Coates

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and Malcolm Sargent among others. At the conduct operas by the composer he most beginning of the Second World War he admired, Richard Wagner. This omission was

became conductor of the Bournemouth-based rectified in 1968, not by The Royal Opera but Wilson Reg Wessex Philharmonic Orchestra. by Sadler’s Wells, which invited him to In June 1945, as a member of Sadler’s conduct a new production of The Mastersingers Wells Opera (later English National Opera), of Nuremberg. So remarkable was its success he conducted the first performance of that he returned to the company to conduct Peter Grimes at the newly reopened Sadler’s its now legendary complete production of Wells Theatre. In the following year he The Ring of the Nibelung, built up between shared with Ernest Ansermet the first 1970 and 1973 and the first to be given in performances of Britten’s The Rape of Lucretia English for some years. He went on to during the Glyndebourne Festival’s first conduct Das Rheingold and Die Walküre for postwar season. Shortly afterwards he joined The Royal Opera, Tristan und Isolde and the music staff at Covent Garden, where for Die Walküre for Welsh National Opera, and the next twenty-five years he conducted a Tristan and Parsifal at English National Opera. repertoire ranging from Il trovatore to Troilus He received a CBE in 1975 and was knighted and Cressida. in 1985. Reginald Goodall died in 1990 at the Only rarely was he given the chance to age of eighty-eight.

Wotan and Freia, Scene 2

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PETER MOORES, CBE, DL giving financial support to various young artists, several of whom – Joan Sutherland, Colin Davis and the late Geraint Evans amongst them – were to become world-famous. In 1964 he Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant set aside a substantial part of his inheritance to establish the Peter Moores Foundation, a charity Littlewoods mail order, chain store and football pools group. He was educated at Eton and designed to support those causes dear to his heart: to make music and the arts more accessible Christ Church, Oxford, where he read modern languages – he was already fluent in German to more people; to give encouragement to the young and to improve race relations. and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne Festival Opera before going up to university, and after Oxford he became a production PETER MOORES FOUNDATION student at the , combining this with a three-year course at the Vienna In the field of music, the main areas supported by the Peter Moores Foundation are: Academy of Music and Dramatic Art. the recording of operas from the core repertory sung in English translation; the recording By the end of his third year at the Academy Moores had produced the Vienna premiere of or staging of rare Italian opera from the bel canto era of the early nineteenth century Britten’s The Rape of Lucretia, had worked as Assistant Producer at the San Carlo Opera (repertoire which would otherwise only be accessible to scholars); the nurturing of House, Naples, the Geneva Festival and Rome Opera, and seemed set for a successful operatic promising young opera singers; new operatic work. career. At this point he received a letter from his father asking The Foundation awards scholarships annually to students and post-graduates for furthering him to come home as he was needed in the firm. Family loyalty their vocal studies at the Royal Northern College of Music. In addition, project awards may be being paramount, he returned to . given to facilitate language tuition in the appropriate country, attendance at masterclasses or From 1981 to 1983 he was a Governor of the BBC, and a summer courses, specialised repertoire study with an acknowledged expert in the field, or Trustee of the Tate Gallery from 1978 until 1985; from 1988 post-graduate performance training. to 1992 he was a director of Scottish Opera. He received the The Foundation encourages new operatic work by contributing to recordings, the Christina Burton/PMF Gold Medal of the Italian Republic in 1974, an Honorary MA publication of scores and stage productions. from Christ Church, Oxford, in 1975, and was made an Since 1964 the Foundation has supported the recording of more than forty operas, many of Honorary Member of the Royal Northern College of Music in these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera 1985. In May 1992 he became Deputy Lieutenant of to the full, there must be no language barrier, particularly for newcomers and particularly in the Lancashire, and in the New Year’s Honours List for 1991, he popular repertoire – hence the series launched with Chandos in 1995. This was made a CBE for his charitable services to the Arts. includes many of the English language recordings funded by the Foundation in the 1970s and Whilst still in his early twenties, Peter Moores had started Peter Moores, CBE, DL 1980s, and is now the largest recorded collection of operas sung in English.

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Fafner, Fasolt and Loge, Scene 2 Anthony Crickmay/Theatre Museum, V&A Museum, Anthony Crickmay/Theatre John Garner/English National Opera Archive Opera National Garner/English John

Donner, Froh and Freia, Scene 2

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der an der Unmittelbarkeit des Musiktheaters Alberich, das Oberhaupt der Nibelungen Richard Wagner: Das Rheingold gelegen ist, gewissermaßen konsequent, die (unterirdisch lebender Zwerge) erstrebt sie für Verbindung zur “Wirklichkeitsnähe” von Live- seine eigenen bösen Zwecke. Von Monteverdis Vorwort von Lord Harewood gegenüber solchen haben, die im Studio Aufzeichnungen zu suchen. Orfeo bis zu Mozarts Zauberflöte, von Rameaus Die English National Opera und vor ihr aufgenommen sind. Eingefleischte Sammler Hippolyte et Aricie bis zu Webers Freischütz hat Sadler’s Wells haben es auf Musiktheater werden die Neuausgabe von Maplesons die Gegenüberstellung von Licht und Schatten abgesehen, nicht auf die große Oper. Unser Zylindern kennen, die um 1900 bei stets die Openkomponisten fasziniert. Wagner Repertoire ist in gewisser Hinsicht danach Aufführungen in der New Yorker Metropolitan erkannte, dass nicht alles Schwarz und Weiß ist, ausgewählt; außerdem ist die derzeitige Opera hergestellt wurden. Sie erreichen unser Lord Harewood sondern dass Grauschattierungen vorherrschen. Situation in gewisser Hinsicht auf unsere Ohr durch einen Hagelsturm von Generaldirektor So nimmt Wotan Zuflucht zu Täuschungs- Angewohnheit zurückzuführen, dem Störgeräuschen, sind aber dennoch eine English National Opera manövern und Diebstahl und bezeichnet sich Publikum die Oper nahezubringen (sie wird in einzigartige Aussage zum Gesangsstil einer August 1975 selbst als Alberichs Alter Ego (“Licht-Alberich”), der Muttersprache dieses Publikums vergangenen Epoche. Andere werden die während Alberich, der das Rheingold erwirbt, aufgeführt), anstatt es auf Distanz zu halten, veröffentlichten und nicht veröffentlichten Übersetzung: Anne Steeb/Bernd Müller indem er die Bedingung erfüllt, aller Liebe zu was passieren kann, wenn sie in einer noch so HMV-Aufnahmen kennen, die 1926 und 1927 entsagen, nicht nur als boshaft, sondern auch gut verstandenen, aber fremden Sprache in den Anfangstagen elektrischer Eine Einführung in den “Ring des als würdevoll dargestellt wird. gehört wird. Wir haben es eher auf die Tonaufzeichnung in Covent Garden Nibelungen” Wagner arbeitete mehrere Jahre lang an Text “Unmittelbarkeit” eines Theatererlebnisses entstanden sind: die Abschiedsgala der Melba, Wagner entwickelte die Idee eines Musikdramas und Musik, angefangen mit einer abgesehen als auf den Denkprozess, der das Teile einer Otello-Vorstellung mit Giovanni zum Thema der Nibelungensage 1848, etwa Zusammenfassung der Fabel in Prosa, ehe er Ergebnis langer Beschäftigung mit dem Thema Zenatello und Auszüge aus Boris Godunow und um die Zeit, als er Lohengrin fertig stellte, die den Text des Werks zu erstellen begann, das er ist – das eine ist so bewundernswert wie das Mefistofele mit Fjodor Schaljapin. Viele von uns letzte seiner traditionellen Opern. Der Ring des Siegfrieds Tod nannte. Im Dezember 1856 andere, doch der Unterschied ist groß, ein finden sie ungeheuer wertvoll, da sie nicht nur Nibelungen ist auf zahlreichen Ebenen zu teilte er jedoch einem Freund mit, dass ihn Unterschied wie der zwischen dem Erleben hörbare Beweise des vor fast fünfzig Jahren genießen: beispielsweise als Märchen, politische die Nibelungen allmählich langweilten; eines Regenschauers im Freien und dessen gängigen Stils und Standards der Darbietung Allegorie oder philosophisches Traktat. Im tatsächlich legte er den Ring im folgenden Beschreibung. liefern, sondern auch eine “Live-Wirkung” Grunde behandelt er den zeitlosen Widerstreit Sommer beiseite und nahm die Arbeit daran Seit Jahren sind sich die Plattenkäufer (ich besitzen, die Studioaufnahmen aus dem selben von gut und böse, den Gegensatz zwischen der erst wieder 1869 auf – bis dahin hatte er schreibe dies in meiner Eigenschaft als Zeitraum abgeht – die von Schaljapin sind ein Liebe zur Macht und der Macht der Liebe. Tristan und Isolde sowie Die Meistersinger von passionierter Schallplattenkonsument) über die erstklassiges Beispiel dafür. Wotan, der oberste der Götter, strebt mit Nürnberg komponiert. Vom ersten Entwurf bis Vorzüge uneinig, die Live-Aufzeichnungen In diesem Sinne ist es für eine Operntruppe, letztendlich guten Absichten nach der Macht; zur Fertigstellung brauchte er für das

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gigantische Projekt sechsundzwanzig Jahre: des Stabreims wieder aufleben, der statt auf Der junge Siegfried eine Art Vorgeschichte Erleuchtung, indem sie das gesegnete Ende Jahre des Aufruhrs sowohl in seinem einem Versmaß mit Endreim auf der hinzuzufügen. Als er die Notwendigkeit alles Ewigen erreicht. Dies ist nicht die Privatleben als auch auf der politischen Bühne Alliteration von Explosivlauten beruht. Dies erkannte, noch weiter in die Vergangenheit Fassung, die Wagner schließlich vertont hat, Europas. entsprach den Theorien, die er in Essays aus zurückzugehen, schrieb er die Libretti zur doch sie gibt einen Einblick in seine Es war nicht nur Langeweile, die Wagner dem Züricher Exil dargelegt hatte und die sich Walküre und zum Rheingold. Der junge Geistesverfassung um die Zeit, als er den bewog, den jungen Siegfried unter der Linde unter anderem mit der Interdependenz von Siegfried wurde in Siegfried umbenannt, aus Schluss der Walküre und den Anfang von zurückzulassen, wo er sich nach eigenem gesprochenen und musikalischen Klängen Siegfrieds Tod wurde mit erheblichen Siegfried komponierte. Bekunden mit aufrichtigen Tränen von ihm sowie mit der Notwendigkeit befassten, Streichungen und Änderungen die Nachdem er die Texte in umgekehrter verabschiedete. Nachdem er aus Dresden Gesangstexte verständlich zu halten, weshalb Götterdämmerung; geändert wurde unter Reihenfolge geschrieben hatte, machte Wagner geflohen war, um der Verhaftung wegen seiner ihm Ensemblenummern und Chöre nicht anderem der Schluss, der nun die Götter in sich daran, die Musik vom Beginn an zu Beteiligung an der Revolution von 1848 zu mehr angemessen erschienen. den Flammen ihrer Feste Walhall umkommen schreiben: So nahm er Das Rheingold 1853 in entgehen, lebte Wagner im Züricher Exil und Wie es sich herausstellte, gehorchte Wagner sah. In Anerkennung des Einflusses der Angriff, ein Jahr nach Fertigstellung des sah kaum eine Chance, den Ring jemals nicht immer seinen eigenen Regeln: In den Oresteia und der Prometheus-Dramen des Librettos, wohingegen er bei der aufgeführt zu sehen; außerdem war sein Meistersingern kommen ein ausgewachsenes Aischylos beschrieb Wagner den Ring als Götterdämmerung, die er 1869 begann, Kompositionsstil einem derart raschen Wandel Quintett und zahllose Chöre vor, im zweiten Trilogie (wobei Das Rheingold gewissermaßen einen Text vertonte, den er (wenn auch unterworfen, dass er ihn mit Tristan Akt der Götterdämmerung ein Chor und ein als Vorspeise diente). mit späteren Überarbeitungen) zwanzig gewissermaßen durcharbeiten musste. Dass er Trio. Die Oper, mit der der Ring-Zyklus Im Jahre 1854 wurde Wagner mit den Jahre zuvor geschrieben hatte. Natürlich den Ring doch noch vollenden und aus eigener beginnt, Das Rheingold, liefert ein gutes Schriften von Arthur Schopenhauer bekannt entwickelte sich sein Musikstil über diesen Kraft dafür sorgen sollte, dass er in einem Beispiel für die praktische Umsetzung gemacht – “ein Griesgram der Zeitraum, und die Partitur der letztgenannten eigens erbauten Theater aufgeführt wurde, Wagnerscher Theorien, aber ehe Wagner sich allerschlimmsten Sorte”, wie P.G. Wodehouses Oper ist erheblich subtiler und komplexer als grenzt an ein Wunder. mit der Musik befassen konnte, war noch viel Bertie Wooster es ausdrückt. Der Schluss der die der Ersten. Dennoch werden die vier Zu seinen Quellen gehörten fünf Epen, alle zu tun. Zunächst plante er nur eine einzige Ring-Fabel war schon zuvor revidiert worden; Opern, so unterschiedlich sie auch sind, durch aus dem dreizehnten Jahrhundert, auf Oper, die optimistisch enden sollte, mit einer aber danach, während er mit der Komposition das Bindemittel zusammengehalten, das als Isländisch, Mittelhochdeutsch und entschiedenen Bestätigung der moralischen des Zyklus beschäftigt war, verfasste Wagner Leitmotiv bekannt ist. Altnordisch. Wie bei allen seinen Opern vor und physischen Überlegenheit der Götter. Die mehrere verschiedene Schlüsse, darunter Musikalische Reminiszenzen waren in der und nach dem Ring verfasste Wagner seine Bemerkung eines Freundes, dass die Fabel vom einen, der Schopenhauers pessimistische Oper nichts Neues. Ein bekanntes Beispiel ist Texte selbst. Allerdings ließ er zum Entsetzen Publikum ein unrealistisches Maß an Sicht vom Leben als bloßer Negation des die kurze Phrase der Oboe, die uns im zweiten seiner Freunde angefangen mit Siegfrieds Tod Vorkenntnissen verlange, veranlasste ihn, erst Todes widerspiegelte. Darin erlangt Akt von Beethovens Fidelio klar macht, dass der den altehrwürdigen dichterischen Kunstgriff Siegfrieds Tod zu erweitern und dann mit Brünnhilde einen Zustand buddhistischer schlafende Florestan nun von seiner Frau

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träumt, von der er soeben noch gesungen hat. vorwegnehmen, dass Wotan und Alberich Geldgeschenke und ein Jahresgehalt Das Rheingold Wagners Leistung war es, ein Geflecht von zwei Seiten ein und derselben Münze zukommen und ermunterte ihn, mit seinem Der Herbst 1853 war im Nachhinein Leitmotiven zu schaffen: kurze, darstellen. großen Werk fortzufahren. betrachtet für Wagner eine bedeutsame Zeit. bedeutungsschwere Phrasen, die mit Von den vielen Freuden des Rings ist die Die Beziehung zwischen den beiden hatte Er begann die Musik zum Rheingold zu bestimmten Personen, Objekten, Gefühlen und Orchestrierung nicht die geringste. Wagner ihre gute und schlechten Zeiten, um es höflich komponieren und lernte Cosima kennen, die vielem anderem in Verbindung stehen und in setzt umfangreiche Kräfte ein, doch immer auszudrücken; aber es ist Ludwig zu verdanken, Tochter von Franz Liszt, die die Mutter seiner der Gesangslinie, vorwiegend jedoch im wieder ist es ein einzelnes Holzblasinstrument dass Tristan und Die Meistersinger am Kinder und schließlich seine zweite Frau Orchester wiederkehren. Sie sind viel mehr als – sagen wir eine Oboe oder Bassklarinette –, Hoftheater uraufgeführt wurden, das auch werden sollte. Während jedoch Cosima die “Visitenkarten”, über die Debussy spottete das eine Situation umreißt oder eine Wiederaufnahmen der früheren Opern Wagners damals gerade fünfzehn Jahre alt war und (der selbst keineswegs darüber erhaben war, in Gesangsphrase auf den Punkt bringt. Eine der erlebte. Auch Das Rheingold und Die Walküre erst 1864 seine Geliebte wurde, nachdem Pelléas et Mélisande davon Gebrauch zu typischsten Klangfarben des Rings liefern die gelangten gegen den Willen des Komponisten sie den Dirigenten Hans von Bülow geheiratet machen): Schlichte Wiederholung, melodische so genannten Wagner-Tuben (gespielt von zur Aufführung. Wagner war immer noch fest und ihm zwei Töchter geboren hatte, war oder harmonische Abwandlung und die Mitgliedern der mit acht Musikern besetzten entschlossen, den gesamten Ring in einem die Entstehungszeit der Oper weniger Kombination mit anderen Motiven – speziell Hörner), die auch tatsächlich in der zweiten eigenen Theater unter Festspielbedingungen langwierig. Der erste Entwurf lag in weniger gegen Ende des Zyklus – lassen allesamt ein eng Szene des Rheingold das Walhall-Motiv aufgeführt zu sehen. 1871 legte er sich auf die als elf Wochen vor, und Wagners Reinschrift verflochtenes Gewirk entstehen. intonieren. Provinzstadt Bayreuth fest. Der Bau des neuen war im September 1854 vollendet, als er Ganze Bücher sind geschrieben worden, die Um 1862 war Wagner nicht mehr aus den Theaters wurde durch öffentliche Subskription bereits halb mit dem ersten Entwurf der den verschiedenen Motiven Namen zuordnen, deutschen Staaten verbannt. Im folgenden Jahr finanziert, wobei Ludwig in einem kritischen Walküre fertig war. aber je genauer die versuchte Definition der veröffentlichte er eine Ausgabe des Ring-Textes Moment zu Hilfe kam. Wagner vollendete die Im Gegensatz zu den nachfolgenden Ring- abstrakteren dieser Motive ausfällt, desto mit einem Vorwort, in dem er der Hoffnung Götterdämmerung 1874, und im August 1876 Opern, die jeweils in drei Akte aufgeteilt sind, schwerer können sie zu fassen sein. Das muss Ausdruck gibt, ein deutscher Fürst werde die wurde erstmals ist das Rheingold ein ohne Unterbrechung den neuen Hörer nicht kümmern, der die Mittel aufbringen, um den – noch immer vollständig aufgeführt. Bis 1889 hatte es überall gespieltes Werk von rund zwei dreiviertel Themen nach mehrmaligem Anhören wieder unvollständigen – Zyklus in einem eigens in der Welt der Oper weitere Inszenierungen Stunden Dauer. Die vier Szenen sind durch erkennen lernt. Allerdings sind nicht alle errichteten Theater aufzuführen. Seine Bitte gegeben; sie sind nach wie vor der Maßstab, an umfangreiche Orchesterzwischenspiele Zusammenhänge offensichtlich: Es lohnt sich wurde bald erhört. Der achtzehnjährige dem sich jedes nach wahrer Größe trachtende getrennt, die auf brillante Weise Wagners zum Beispiel, auf die ähnlichen Konturen des bayerische Kronprinz bestieg 1864 als Opernhaus messen lassen muss. Auffassung von der Komposition als Kunst des Walhall- und des Ring-Motivs hinzuweisen – Ludwig II. den Thron. Er half Wagner, seine Übergangs veranschaulichen. Zum Beispiel das eine edel, das andere finster –, die unseren Schulden abzubezahlen, quartierte ihn in © 2000 Richard Lawrence wird, nachdem Alberich das Gold seinen Eindruck bestätigen oder vielmehr einem Haus in München ein, ließ ihm Übersetzung: Anne Steeb/Bernd Müller Bewacherinnen (den Rheintöchtern) entrissen

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hat, der grimmige Klang des “Ringmotivs”, Neunten Sinfonie. Allmählich wird aus dem Tatsächlich ist wie oben in der Einleitung gegenüber spricht er sich dafür aus, es zu das an einem Orgelpunkt in der Dominante Arpeggio ein Schwall von Sechzehnteln, die dargelegt Das Rheingold der locus classicus des behalten und damit Wotan von c-Moll verankert ist, anschließend von den Rhein darstellen. Wagner wäre gern bereit Wagnerschen Idealismus. Es gibt keine außerehelichen Streifzügen abzuhalten. Holzbläsern, Bratschen und Hörnern gewesen, den Einfluss Beethovens Ensemblenummern, und die Vertonung ist im Außerdem verspottet er mit Vergnügen die gemildert und dann in das getragene einzugestehen; hätte man ihn auf die hier wesentlichen syllabisch, ohne lyrischen oder Rheintöchter, als diese ihren Verlust beklagen. “Walhallmotiv” der Blechbläser verwandelt. vorliegende Ähnlichkeit mit Mendelssohns rhetorischen Überschwang. Einer Arie am Er schämt sich, mit den Göttern in Ein länger anhaltender Orgelpunkt folgt der Ouvertüre Die schöne Melusine hingewiesen, nächsten kommt Wagner mit Loges Verbindung zu stehen, und gesellt sich doch zweiten Szene und führt den Klang von wäre ihm das möglicherweise nicht so recht Schilderung in Szene 2, die für sich auf ihrer feierlichen Prozession nach Walhall Alberichs Schmieden ein, die auf achtzehn gewesen, obwohl er Mendelssohns Musik genommen als Konzertstück aufgeführt zu ihnen. Wagner charakterisiert ihn mit Ambosse einhämmern. Das b-Moll von genug schätzte, um sie in seiner Zeit als werden könnte und auch aufgeführt wurde. flackernden Motiven, die einem Gott des Nibelheim ergänzt seine Durparallele, das Dirigent aufzuführen. Während Wotan im Grunde gut ist und nur Feuers angemessen wären, sowie Des von Walhall, zu einem weiteren Beispiel Wie nicht anders zu erwarten bei einem eine finstere Seite hat, Alberich dagegen bezeichnenderweise mit einer Phrase, die sich für die Verbindung zwischen Alberich und Werk, das als Vorgeschichte eines sich grundsätzlich böse, aber wenigstens zwischen sowohl beim zweitönigen “Rheingold! Wotan. entspinnenden Dramas gedacht ist, sind im Recht und Unrecht unterscheiden kann, ist Rheingold!”-Motiv als auch bei dessen Der umfangreichste aller Orgelpunkte ist Rheingold viele (aber keineswegs alle) Leitmotive Loge durch und durch ambivalent. (Die chromatischer Abwandlung bedient. jedoch ganz zu Beginn des Vorspiels zu hören, des Rings präsent. Eines der wichtigsten, ein Partie, die am besten von einem Heldentenor Loge selbst tritt später nicht mehr auf, seine wo die Kontrabässe nicht weniger als 136 zweiteiliges Motiv, tritt in Erscheinung, wenn übernommen wird, ist unter Charaktertenören Musik aber sehr wohl, und in der Takte lang ein tiefes Es aushalten. Ihnen die Rheintöchter das Gold grüßen: Sowohl die so begehrt, dass der Sänger, der in Siegfried als Götterdämmerung setzt die Dritte Norne ihre gesellen sich eine Quinte höher die Fagotte Fanfare “Heiajaheia!” als auch die aus zwei Mime besetzt ist, oft Loge dazu erhält, weshalb Schwestern über sein bevorstehendes Ende in hinzu; anschließend schleicht sich erst ein Tönen bestehende, melodisch und harmonisch – wenn auch glücklicherweise nicht in diesem Kenntnis. Erda dagegen ist noch einmal in Horn leise mit einem ansteigenden Arpeggio abgewandelte Figur “Rheingold! Rheingold!” Fall – ein anderer Sänger für den Mime im Siegfried zu sehen. Dort ist sie über die ein, dann ein weiteres und noch eines, bis alle nehmen neue Bedeutungsnuancen an, je weiter Rheingold engagiert werden muss.) Loge ist Neuigkeit verblüfft, die Wotan der Wanderer acht Hörner nach Art eines Echos immer das Epos voranschreitet. nur ein Halbgott, dem Freias überbringt. Im Rheingold ist sie hingegen so wieder die eine urwüchsige Phrase spielen. Wagner betrachtete die Rheintöchter als lebensbewahrende Äpfel versagt sind, und die allwissend, wie sie zu sein behauptet. Wagner geht es darum, den Ursprung allen Einheit, auch wenn er jeder einen Namen gab, anderen misstrauen ihm. Wie es Wotan Eingeleitet von einer leisen ansteigenden Seins heraufzubeschwören, die so gut wie darum singen sie wie hier von Zeit zu Zeit im ausdrückt: “Von allen Göttern dein einz’ger Phrase, die aus dem Vorspiel hergeleitet ist, rät vollkommene Abwesenheit von Zeit und mehrstimmigen Satz. Anderswo hält er sich Freund …”. Wir wissen nie, was Loge wirklich sie Wotan, den Riesen den Ring zu überlassen. Bewegung, indem er die gleichen Mittel insofern an die eigenen Regeln, als keine Figur denkt. Mehrmals empfiehlt er, das Gold den Dann sagt sie den Niedergang der Götter einsetzt wie Beethoven zu Beginn seiner ein Wort sagt, während eine andere singt. Rheintöchtern zurückzuerstatten; aber Fricka voraus. Die entscheidende Passage lautet:

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“Alles, was ist, endet. Ein düstrer Tag dämmert als Teil des vollständigen Ring-Zyklus erfolgte ständig seinen Entwurf modifiziert. Häufig Zensor. Aber die Öffentlichkeit war wohl die den Göttern.” Dort begegnet der ansteigenden bei den Bayreuther Festspielen im August 1876. setzt sich diese Entwicklung nach der stärkste von außen wirkende Kraft. Der Phrase ihr Gegenteil, eine absteigende Phrase Uraufführung fort, sei es zwischen den ersten Opernkomponist, ein Mann des Theaters, war der Geigen und Bratschen, die leicht zu © 2001 Richard Lawrence Vorstellungen oder anlässlich einer späteren sich darüber im klaren, dass der Erfolg seines überhören ist. Die Szene mag von ihrer Übersetzung: Anne Steeb/Bernd Müller Wiederaufnahme. Zwei der erfolgreichsten Schaffens und sein eigener Erfolg von der Grundstimmung her noch so verhängnisvoll Arien in Don Giovanni – “Dalla sua pace” und Reaktion seines Publikums abhing. Die sein, doch bietet sie einen seltenen Moment Der “Ring” – auf Englisch? “Mi tradì” – waren in der ursprünglichen maximale Reaktion stellt sich nicht nur dann der Erholung zwischen dem Streit der Götter Wir alle sind irgendwie fest davon überzeugt, Prager Fassung nicht enthalten. Madama ein, wenn das Werk künstlerisch erfolgreich ist, und Riesen und der ersten Folge des Fluchs, dass ein Kunstwerk in vollständig Butterfly war in der Form, in der sie anfangs sondern auch, wenn das Werk im Einklang mit mit dem Alberich den Ring belegt hat, der ausgearbeiteter Form der Seele seines aufgeführt wurde, nicht die Oper, die wir heute dem literarischen, politischen, nationalen und brutalen Ermordung Fasolts durch seinen Schöpfers entspringt, und übersehen dabei, da kennen: Pinkerton kam im dritten Akt nicht außerästhetischen Bewusstsein des Publikums in Bruder Fafner. es uns gelegen kommt, den Unterschied mehr vor. genau jenem Augenblick und an genau jenem Die Wolken, die sich symbolträchtig zwischen Natur und Kunst. Der kreative Zweitens stellt man fest, dass der Komponist Ort steht. Der junge Komponist passte sein zusammengebraut haben, werden von Prozess ist langwierig und detailliert; er fängt seine Oper auch für eine bestimmte Bühne Werk dem Publikum an; der etablierte Donners Hammer zerstreut, und Froh zaubert mit dem Entwurf an und führt zu einem schreibt, für ein bestimmtes Ensemble aus Komponist suchte sich die Stadt aus, die sein aus einem Regenbogen eine Brücke herbei. Werk, an dem immer wieder gefeilt worden Instrumentalisten und Sängern und für ein neues Werk zu schätzen wissen würde. Dies war Wotan streift angesichts der Wendung der ist. In der darstellenden Kunst hat der Urheber bestimmtes Publikum. Mozarts Korrespondenz nicht nur eine Frage regionaler Unterschiede: Ereignisse seine Niedergeschlagenheit ab, und mehr als in jeder anderen Kunstform sein mit seinem Vater verzeichnet nicht nur die Mozart hat sogar zwei verschiedene die Götter betreten ihre neue Burg. Für diese Werk immer auf sein Zielpublikum Zugeständnisse, die er an die fehlende Technik musikalische und verbale Idiome benutzt, eins Szene verlangt Wagner sieben Harfen: sechs abgestimmt. Der Komponist, der sein des jeweiligen Sängers machen musste, sondern für sein Publikum am kaiserlichen Hof in Così im Orchester und eine, um hinter der Bühne Publikum einbezieht, sorgt selbstverständlich auch die Wirkung, die er erzielen konnte, fan tutte und eins für die einfache Bevölkerung die Rheintöchter zu begleiten. Die Chromatik für eine stärkere emotionale Reaktion, die sich indem er die Vorzüge der Kräfte nutzte, die ihm der gleichen Stadt in der Zauberflöte. Gluck, ihrer Klage ist sozusagen der Wurm in der auch noch akkumulieren kann. zur Verfügung standen. Viele von Rossinis Rossini, Donizetti und Verdi schrieben ihre Knospe, doch der bleibende Eindruck beim Wenn man die Korrespondenz liest, in der es Koloraturpartien für Mezzosopran entstanden Pariser Opern mit französischen Libretti und Publikum ist der beispielloser Pracht. Wie um die Entstehung eines Meisterwerks der für seine Geliebte Isabella Colbran. Selbst die mit Rücksicht auf den Pariser Geschmack. trügerisch diese Pracht ist, wird im weiteren Oper geht, wird zweierlei unmissverständlich Zensur war häufig eine prägende Kraft, und der Und was geschah, wenn die Oper auf die Verlauf des großen Dramas nur allzu deutlich. klar. Erstens drängt der Komponist seinen Begriff “prägend” wird hier absichtlich benutzt. Bühne kam? Die Uraufführung erfolgte unter Das Rheingold wurde im September 1869 in Librettisten in eine bestimmte Richtung, Un ballo in maschera verdankt seine straffe der Aufsicht des Komponisten, und nachdem München uraufgeführt. Die erste Aufführung während er selbst auf dem Weg zu seinem Ziel Form Verdis Auseinandersetzung mit dem die musikalische Struktur festgelegt war, wurde

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die betreffende Inszenierung zum Vorbild für Boccanegra, Ariadne auf Naxos, Cardillac, am wichtigsten ist – auf das emotionale Klima geben zu können, in weiteren Kreisen alle nachfolgenden Aufführungen. Auf die Troilus and Cressida – man könnte die der Öffentlichkeit um die jeweilige Zeit und geschätzt zu werden. gleiche Weise wiederholt die D’Oyly Carte Aufzählung fortsetzen. Hätte Mozart Le nozze am jeweiligen Ort. Oft kann die Übersetzung Opera Company immer wieder die di Figaro etwa nicht umgearbeitet, wenn er die das Werk nicht nur verständlich und damit für Originalinszenierungen. Das Musterbeispiel Oper 1830 für London wiederaufgenommen jeden im Publikum eingängig und direkt für den Erfolg dieses Systems ist heute das hätte? Hätte Bizet, wenn er lange genug gelebt nachvollziehbar machen, indem sie ihn in © 1975 Peter Moores amerikanische Musical (zum Beispiel West Side hätte, etwa nicht gesungene Rezitative für seiner eigenen Sprache anspricht, sondern Übersetzung: Anne Steeb/Bernd Müller Story), das jede Geste der ursprünglichen Carmen geschaffen, als das Werk von der auch einen Text bereinigen, der in Konzeption beibehält. So sind die Intentionen Pariser Opéra aufgegriffen wurde? altmodischer oder schwer verständlicher Form … Und der englische Alberich kann nun dem des Urhebers für uns bis auf den heutigen Tag Wann immer ein Opernhaus es für vorliegt. Ein Kritiker, der in einem (unten deutschen mit Recht vorwerfen: “How darkly zugänglich, mit allen Vorteilen der angebracht hält, die Produktion eines Werks in abgedruckten) Artikel in der deutschen you tell me what so clearly I know”. Für die Authentizität. Angriff zu nehmen, das es noch nicht im Tageszeitung Die Welt auf das Thema eingeht, Aufführung der Tetralogie im Londoner Das betreffende Werk derart fertig Repertoire hat, muss der Regisseur beleuchtet die Probleme eines Deutschen von “Coliseum” hatte Andrew Porter, jetzt einzufrieren kann jedoch auch Nachteile mit entscheiden, ob reproduziert oder rekreiert heute mit der gewundenen Sprache Wagners. hochgeschätzter Musikkritiker der sich bringen. Die Darbietung kann sich nicht werden soll, ohne Rücksicht darauf, ob der Der “englische Ring” am Londoner amerikanischen Paradezeitschrift The New weiterentwickeln, und die Interpreten sind in Komponist noch lebt oder gestorben ist. Wird Coliseum ist eine Neuschöpfung. Sein Yorker, den Text eigens neu ins Englische ein Korsett starrer Routine eingebunden. Das die Oper in einer für das Publikum fremden ungeheurer Erfolg ist auf die Tatsache übertragen – und zwar mit grandiosem Werk kann sich nicht mit dem Geschmack der Sprache inszeniert, besteht eigentlich nur die zurückzuführen, dass das Werk vielen Geschick. Denn einfach war seine Aufgabe Gesellschaft verändern, und wenn es auf die Wahl, in der Originalsprache zu reproduzieren zugänglich gemacht wurde, die mit diesem gewiß nicht. Siegfried besteht schließlich nur gleiche Art in einem anderen Land, auf einem oder in übersetzter Form zu rekreieren. Beide bedeutende Meisterwerk in reproduzierter in der Sicht von Karikaturisten aus einer anderen Kontinent reproduziert wird, kann es Möglichkeiten enthalten das Risiko eines Form nichts hätten anfangen können. ausgedehnten Folge von “Hoho! Hahei!” sein, dass seine Relevanz für das neue Fehlschlags, doch kann eine Neuschöpfung Der Ring ist nicht dem Kenner vorbehalten. Er und einigen “Heils”, die sich als englische Publikum schwer beeinträchtigt ist, vor allem ohne den Komponisten ein ernsthafterer ist fortan für alle da, und der Zweck dieser “Hails” allerdings gleich viel ziviler dann, wenn auch noch eine Sprachbarriere zu Fehlschlag werden, aber auch ein noch Aufzeichnung besteht darin, ihn in den ausnehmen. überwinden ist. größerer Erfolg. Bühnenbild, Inszenierung, Wohnzimmern derer verfügbar zu machen, die Porter kam bei seiner Übertragung Das neue Werk wird oft einige Jahre später Übersetzung und die zu verwendende Edition nie die Möglichkeit haben werden, selbst eine nun freilich zur Hilfe, daß die englische wieder auf die Bühne gebracht, und der der Musik können auf die Bedürfnisse der Vorstellung zu besuchen. Die Peter Moores Sprache über viel mehr einsilbige Worte Komponist selbst sorgt für seine Auffrischung. betreffenden Bühne abgestimmt werden, auf Foundation ist stolz darauf, dieser verfügt als die deutsche: ein Vorteil, den er Orfeo, Idomeneo, Don Giovanni, Fidelio, Simon die verfügbaren Künstler und – was vielleicht hervorragenden Inszenierung die Chance kraftvoll zu nutzen wußte. Die Engländer

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besitzen also nun den Ring des 20. Jahr- gleicht den Mangel aus, dass es der Dichtung hat die Bedeutungsschwere und Zwergen, die in unterirdischen Höhlen hunderts, während wir mit immer stumpferen Übersetzung nicht immer gelingt, Wort und Zeitlosigkeit eines Mythos. Das ist das hausten und von ihrem Anführer Alberich im Zähnen an der Wagnerischen Sprache kauen, Klang zu verbinden. Wagner wollte, dass der Besondere, das ist es, was den Ring noch Anschluss an die Ereignisse der ersten Szene die uns von Jahr zu Jahr unverträglicher klingt. Ring verstanden wird. Der Text lag als Erstes tiefgründiger macht. gezwungen wurden, seinem Streben nach Seltsam: Porters Übersetzung gibt dem vor und beschwor die Musik herauf. Ja, ich bin Perfektionist – nicht im Hinblick Weltherrschaft dienlich zu sein. Doch es Gedicht Wagners eine klare, kluge Würde, die Wagner fing damit an, dass er den Text zu auf Details, sondern in Bezug auf Atmosphäre gelang ihnen nicht, die Riesen zu unterwerfen, überaus eindringlich wirkt. Sie zu kosten: das Siegfrieds Tod schrieb und dabei feststellte, dass und Bedeutung. Ich glaube nicht, dass die und die Oberherrschaft gehörte den Göttern, ist allein schon ein Glück dieser er erklären musste, wie es dazu gekommen Walküre-Aufnahme eine perfekte Darbietung Licht- und Luftgeistern, von Wotan angeführt, Schallplatte … war, fast von Anfang an, die Ursünde, jenes sein kann, obwohl ich nie mit jemandem so der die Erde aus der Höhe mit Milde regierte. Auszug aus “Alberich singt an der Themse”, Aufopfern der Liebe zugunsten von Macht glücklich gewesen bin wie mit Curphey und Das Rheingold, der Auftakt zu diesem Discophilibus, Die Welt, 30. November 1974 und Gier, das auf Siegfried zurückfällt, obwohl Remedios in jenem ersten Akt. Ich ziehe Live- epischen Drama, spielt sich in den ersten er gewissermaßen schuldlos ist. Lasst die Natur Aufzeichnungen vor, weil ich finde, dass ein Tagen des Lebens auf der Erde ab und wird Der Goodallsche “Ring” in Frieden. Der Rhein fließt dahin, ohne einen Publikum zur Darbietung beiträgt – Siegfried zwischen den drei Rassen der Schöpfung Die Leute mögen ihn den “Goodallschen Grund dafür zu haben. Er ist einfach Natur. und Das Rheingold sind fabelhaft: Man hört ausgetragen. Den Göttern nahe, ohne Ring” nennen, doch er ist Jedermanns Ring, Gott oder Natur, ganz wie es beliebt, haben in nur einmal leises Gelächter, was meines dazuzugehören, stehen Loge, der Geist des der English National “Ring”. Das Schöne daran ihrer Weisheit das Atom versteckt, aber wir Erachtens richtig ist; das gefällt mir in der Feuers und der Schläue, den Wotan gebändigt ist, dass es sich um eine Gemeinschaftsleistung haben es gefunden. Und wenn man bedenkt, Aufnahme: Ich finde, man sollte im Ring und zu seinem Freund gemacht hat, und Erda, handelt. Es heißt, ich sei in den letzten fünfzig was das Atom anrichten kann … Wir haben in gelegentlich lachen – es macht ihn lebendig. die Erdmutter, Quelle aller Weisheit und Jahren der Einzige gewesen, der den Ring in den vergangenen fünfzig Jahren mehr zerstört Mutter der drei Schicksalsgöttinnen, Nornen deutscher und englischer Sprache dirigiert hat. als in den Äonen davor. Wir vergiften die © Reginald Goodall genannt. Das letzte der vier Elemente – Wasser Wenn er hierzulande auf Deutsch gesungen Meere; wir haben dafür gesorgt, dass die Übersetzung: Anne Steeb/Bernd Müller – ist das erste, das in der Oper in Erscheinung wird, sitzt das Publikum, das zum allergrößten Hälfte aller Tierarten in der Natur tritt: der Rhein und die drei Rheintöchter. Teil die Sprache nicht versteht, nur da und ausgestorben sind. Die Natur hält ein so feines Inhaltsangabe wartet auf die dramatischen Höhepunkte; der Gleichgewicht, dass wir die Reinheit der Welt Am Anfang, als die Welt noch jung war, CD 1 Schwerpunkt liegt fast ausschließlich bei der stören. Wir können nicht anders. Das ist die bevölkerten Riesen die Erde: ein Musik und nicht beim Text. Auf Englisch Ursünde, und davon handelt der ganze Ring: schlichtes, starkes, fleißiges Volk, das es Szene 1 genieße ich die direkte Wirkung des Werks – von Adam und Eva im Garten Eden, vom zufrieden war, ein einfaches Leben zu führen. Auf dem Grund des Rheines man spürt sie im Publikum, weil es alles Verlust der Unschuld der Welt, von der Sorgen bereiteten ihnen nur die 1 Das Vorspiel stürzt uns sogleich hinab auf versteht. Das ist ein wunderbares Gefühl – es Vernichtung eines Weltensystems. Die Ring- Auseinandersetzungen mit den Nibelungen: den Grund des Rheins. Die Finsternis ist

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zunächst so tief, dass wir die Weite des Wassers Annäherungsversuchen wird deutlich, dass er 7 Alberich, dessen Liebe verschmäht wurde Wotan und Alberich nicht so verschieden sind, und seine sanft beharrende Grundströmung für ihr Gold keine Gefahr bedeutet. 4 Sie und der unendlich machthungrig ist, will nur wie sie beide gern glauben möchten). hören und wahrnehmen, aber noch nicht beschließen ihn zu hänseln, und eine nach der zu gern den Preis für das Gold bezahlen. Er ist 9 Fricka erwacht als erste, erblickt die neu sehen können (acht Hörner spielen anderen bringt ihn dazu, hinter ihr her die zu ihm hinaufgeklettert, ehe die Rheintöchter erbaute Burg und weckt ihren Gemahl, der von nacheinander ein ansteigendes Es-Dur- Felsen hinauf und hinunter zu hetzen. Nur es bemerkt haben; 8 grausig erklingt sein ihrer Pracht entzückt ist (“Vollendet das ewige Arpeggio). Allmählich werden die Sinne auf Flosshilde, die dritte, lässt ihn näher an sich Fluch auf die Liebe. Er reißt das Gold an sich Werk”). Sie dagegen erinnert ihn besorgt daran, die schnelleren Strömungen darüber und die heran, um ihm dann flink zu entwischen. Nun und verschwindet in der Tiefe. Das Wehklagen dass sie bezahlt werden muss, und der Preis, der felsigen Erhebungen im Flussbett aufmerksam, ist Alberichs Leidenschaft geweckt, und er jagt der Rheintöchter hallt in seinem höhnischen mit den beiden Riesen vereinbart wurde, die es das sich in weite Ferne erstreckt. 2 Eine Nixe zunehmend besessen hinter den Mädchen her, Gelächter wider. erbaut haben, ist Frickas Schwester Freia namens Woglinde, eine der Rheintöchter, während sie schnell von Felsen zu Felsen Erneut senkt sich Finsternis herab, und man (manchmal auch Holda genannt), die Göttin kommt herbeigeschwommen und singt ein huschen und über seine Bemühungen spotten. hört das Wasser weiterrauschen; Englisch der ewigen Jugend und Bewacherin der heiligen nur teilweise verständliches Lied, während sie 5 Auf einmal blitzt weiter oben auf dem Horn und Waldhorn erinnern an das verjüngenden Äpfel. Fricka ist zornig, weil der sich rund um die höchsten Felsen tummelt. zentralen Felsbrocken ein helles Licht auf; ein “Fluchmotiv”; Wolken verdecken die Szenerie. Preis in ihrer Abwesenheit festgelegt wurde, Wellgunde, eine ihrer Schwestern, gesellt sich Sonnenstrahl ist in die wässrige Tiefe aber sie wünscht sich die Burg ebenso sehr wie dazu und spielt mit ihr Fangen. Flosshilde, vorgedrungen und hat das Rheingold Szene 2 Wotan, 10 und sei es nur in der Hoffnung, dass eine dritte, kommt herabgetaucht und aufleuchten lassen; fröhlich preisen die Freie Gegend auf Bergeshöhen sie ihn ans Haus binden und von bezichtigt sie der Achtlosigkeit beim Bewachen Rheintöchter den Schatz, den sie bewachen. Sobald sich zur Melodie des “Ringmotivs” auf ehebrecherischer Versuchung fernhalten wird. des Goldes, das weiter oben auf dem Felsen 6 Alberich wird neugierig und erfährt, dass den Hörnern die Wolken verzogen haben, Er dagegen hat nicht die Absicht, das ruht. Doch auch sie lässt sich mit in das Spiel dieser Hort nicht bloß funkelnder Zierat ist, sehen wir uns auf den Gipfel eines Berges Versprechen einzuhalten und im Austausch für hineinziehen. Während sie hintereinander sondern seinem Träger, wenn er zum Ring hoch über dem Rhein versetzt. Wotan und Walhall Freia auszuhändigen, sondern verlässt herjagen, verdüstert ein finsterer Schatten den geschmiedet wird, Macht über die ganze Welt seine Gemahlin Fricka liegen in tiefem Schlaf, sich auf seinen windigen Berater Loge (der den bleichen Dunst des Flussbetts. 3 Alberich ist verleiht. Flosshilde ist überzeugt, dass sie zu und als der Morgen anbricht, wird auf einem Handel vorgeschlagen hat), eine andere aus einer felsigen Kluft hervorgekrochen und viel verraten haben, bis Woglinde sie daran anderen, weiter entfernten Gipfel eine Möglichkeit zu finden, um die Riesen belauscht das unschuldige Spiel der anmutigen erinnert, dass nur der des Goldes habhaft gewaltige, glänzende Burg sichtbar. Es ist zufriedenzustellen. Wassernixen. Er versucht sich bei ihnen werden kann, der bereit ist, auf die Liebe zu Walhall, Wotans Statussymbol (und die 11 Freia eilt zutiefst bestürzt herbei, einzuschmeicheln, doch sie sind von seiner verzichten (“Nur wer der Minne Macht Ähnlichkeit des “Walhallmotivs” für 12 dicht gefolgt von den zwei Riesen, die die Hässlichkeit abgestoßen, und Flosshilde versagt”). Und dazu sei niemand bereit, schon Wagnertuba mit dem kurz davor gehörten Burg gebaut haben und gekommen sind, ihren verdächtigt ihn, in böser Absicht gar nicht dieser liebeskranke Kobold. Aber ihre “Ringmotiv” erinnert uns daran, dass es Lohn einzufordern: Fasolt ist von Freias herumzulungern. Doch aus seinen lüsternen Wachsamkeit hat zu früh nachgelassen: ebenfalls ein Symbol der Macht ist und dass Schönheit betört; sein eher zynischer,

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verachtungsvoller Bruder Fafner will den eines daraus geschmiedeten Rings willen der Lösegeld für Freia in Besitz zu nehmen. Sie die Fronarbeit leistenden Zwerge zu. 16 Da Göttern lediglich Freias Fähigkeit rauben, Liebe zu entsagen. Loge berichtet von dem schlüpfen durch eine Felsspalte und steigen im stürmt Alberich herbei, eine mit den Früchten andere zu verjüngen, denn ohne sie müssten Diebstahl, den Alberich begangen hat, als Innern des Berges in die unterirdischen ihrer Arbeit schwer beladene Horde Nibelungen sie rasch verfallen, sterben und den Riesen die würde er lediglich eine Beschwerde der Höhlen hinab, wo man die Nibelungen, vor sich her treibend. Beim Anblick von Wotan Oberherrschaft überlassen. 13 Sie widerstehen Rheintöchter weitergeben; 5 aber seine Alberichs Sklaven, unaufhörlich auf ihre und Loge schickt er die anderen fort, indem er Wotans schwachem Versuch, sie dazu zu Schilderung lässt die Riesen nicht kalt – Ambosse hämmern hört (in Wagners Partitur an seinem Ring zupft, was sie schreiend vor bringen, dass sie eine andere Form der 6 und ebenso wenig die Götter. sind achtzehn vorgesehen). Entsetzen an ihre Arbeit zurück eilen lässt. Bezahlung nennen. 14 Freias Brüder Froh und 7 Jede der Parteien entscheidet für sich, 17 Nun versucht Loge Alberichs Vertrauen zu Donner, der eine ganz strahlende dass dieses Gold extrem begehrenswert ist, und Szene 3 gewinnen und stellt sich ihm als alter Getreuer Freundlichkeit, der andere ein aggressiver Loge versichert Wotan, dass man es auch ohne Unterirdische Kluft vor, als der Geist des Feuers. 18 Alberich lässt Dickschädel, kommen gerade rechtzeitig, um Liebesverzicht, einfach durch Raub an sich 12 Während die Reisenden ihren Weg in die sich davon kaum beruhigen; außerdem erkennt zu verhindern, dass Freia fortgezerrt wird. bringen könne – was kein Verbrechen sei, fügt Tiefe beenden, wird eine weitläufige Höhle er Wotan. 19 Doch sein Größenwahn macht Wotan hält Donner davon ab, die Riesen mit er hinzu, wenn Wotan das Gold wieder dem sichtbar, in die Alberich seinen Bruder Mime ihn tollkühn – er brüstet sich mit dem, was er brutaler Gewalt niederzuringen (“Nichts durch Rhein überantworte. 8 Fafner verkündet, dass gezerrt hat, um ihm das letzte Ergebnis seiner erreicht hat, und vor allem mit dem Tarnhelm. Gewalt!”) Freia bei den Göttern bleiben dürfe, wenn Handwerkskunst abzuringen. Es handelt sich Loge täuscht Ungläubigkeit vor und fordert Wotan die Riesen stattdessen mit Alberichs dabei um die Tarnhelm genannte goldene Alberich heraus, die Vorzüge der Zauberkappe CD 2 Gold zu bezahlen bereit sei. Wotan wendet Zauberkappe, die dem Träger die unbegrenzte zu beweisen. vergebens ein, dass es ihm nicht freistehe, das Fähigkeit verleiht, sich unsichtbar zu machen 1 – 2 Loge kehrt endlich zurück; er hat sich Gold weiterzugeben; die beiden Riesen oder eine andere Gestalt anzunehmen. Alberich CD 3 der Qualität der Bauarbeiten versichert und nehmen Freia als Geisel. Sie versprechen, am entreißt sie ihrem Schöpfer, der behauptet, dass 3 ärgert sich über die Beschimpfungen, mit Abend wiederzukommen und sie sie noch fehlerhaft sei, und 13 stellt sie sofort 1 Alberich ist ihm gefällig und verwandelt denen er wegen seines verspäteten Erscheinens zurückzugeben, falls ihnen dafür das Gold mit Erfolg auf die Probe, indem er sich sich erst in einen abscheulichen Drachen und überhäuft wird (“Immer ist Undank Loges ausgehändigt würde. 9 – 10 Sobald sie fort unsichtbar macht und Mime wegen seiner dann, nach einer weiteren spöttischen Lohn!”). Außerdem hat er überall nach einem sind, wird deutlich, dass die Götter ohne Freia versuchten Unehrlichkeit verprügelt. Mime Bemerkung, in eine kleine Kröte. Wotan tritt Ersatz gesucht, um die Riesen zu entlohnen. und ihre Äpfel grau und lustlos werden, und kauert noch jammernd in einer Ecke, als prompt auf die Kröte, Loge nimmt den Aber wie es scheint, kann niemand etwas vollkommen unfähig, zu handeln. 11 Wotan 14 Wotan und Loge erscheinen und 15 sich Tarnhelm an sich und fesselt den gefangenen Begehrenswerteres nennen als eine gute und beschließt zur großen Erleichterung Frickas von ihm rasch über die Arbeitsbedingungen in Zwerg. 2 Sie verschleppen ihn, wiederum schöne Frau – 4 nur einer, nämlich Alberich, und der anderen, sich mit Loge nach Nibelheim und den Zauber des Tarnhelms vorbei an den Ambossen und dann die war bereit, um der Macht des Rheingolds und Nibelheim hinabzubegeben und das Gold als aufklären lassen. Loge sagt ihm hastig Hilfe für Felsspalte hinauf, in felsige Höhen.

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Szene 4 7 Die übrigen Götter stellen sich wieder Dann stopft er seelenruhig das restliche Der in Südafrika geborene Bassbariton Freie Gegend auf Bergeshöhen ein. Gleich darauf bringen Fasolt und Fafner Lösegeld für Freia in einen Sack, nimmt ihn Norman Bailey studierte in Wien und 3 Wotan und Loge schaffen Alberich fest Freia zurück und geben 8 beim Anblick des auf die Schulter und entfernt sich. 14 – 15 Die verbrachte die Anfangsjahre seiner Laufbahn verschnürt hinaus auf die Hochebene und Goldes bekannt, dass es, um ein gerechter Lohn Luft ist noch immer von dichtem Nebel in Österreich und Deutschland. Dann ging er teilen ihm mit, dass das Gold der Preis für zu sein, so hoch und so breit aufgetürmt erfüllt, den Donner mit einem sensationellen nach Großbritannien, wo er an allen seine Freiheit sei. Er erklärt sich damit bald werden müsse, dass Freia dahinter nicht mehr Gewitter zerstreut (“Heda! Heda! Hedo!”). bedeutenden Opernhäusern gesungen hat. Als einverstanden, denn er weiß, dass der Ring die zu sehen sei. 9 Ihre beharrliche Gier ist erst 16 Froh überbrückt mit einem Regenbogen einer der führenden Wagner-Sänger seiner Macht hat, seine Bestände aufzufüllen und gestillt, als auch noch der Tarnhelm dazugelegt das Tal, und erneut wird die Burg Walhall Generation ist er besonders in der Titelrolle ohne Grenzen wachsen zu lassen. 4 Auf wird; 10 aber selbst dann findet Fasolt noch ein sichtbar. 17 Wotan grüßt ein zweites Mal seine des Fliegenden Holländer und als Hans Sachs seinen Zauberspruch hin bringen die winziges Loch, durch das er Freias strahlenden neue Festung (“Abendlich strahlt der Sonne in den Meistersingern von Nürnberg bekannt Nibelungen den Hort aus ihren Höhlen Blick erspähen kann, und verlangt den Ring, Auge”), und die Götter machen sich bereit, die geworden. Außerdem hat er den Landgrafen herauf. 5 Als er verlangt, freigelassen zu um es zu stopfen. Wotan weigert sich Regenbogenbrücke zu überqueren. Nur Loge im Tannhäuser an der Opera North und werden, besteht Loge darauf, den Tarnhelm zu entschieden; er ist inzwischen ganz von dem bekennt, dass er sich schäme, mit ihnen in Wotan/Wanderer sowie Gunther an der behalten, und Wotan fordert ihn auf, den Vorwand abgekommen, ihn den Rheintöchtern Verbindung zu stehen. 18 Als sie zusammen English National Opera gesungen; als Mitglied Ring ebenfalls abzuliefern. Bestürzt erbietet zurückgeben zu wollen, und will ihn in die Brücke betreten, sind auf einmal die dieses Ensembles gab er unter anderem auch sich Alberich, stattdessen alles zu geben, auch selbstherrlicher Absicht für sich behalten. Die Rheintöchter zu hören, die den Verlust ihres Don Pizarro (Beethovens Leonore), den Grafen sein eigenes Leben, bis ihm aufgeht, dass ihn Riesen schicken sich an, mit Freia Goldes beklagen. Aber Wotan hat sich durch von Luna (Il trovatore), Alfio (Cavalleria das ebenfalls des Rings berauben würde. davonzugehen, diesmal für immer; 11 doch da seine Falschheit selbst die Macht genommen, rusticana), Scarpia (Tosca), den Vater (Hänsel Wotan entreißt ihm den Ring, und man erscheint die Erdmutter (“Weiche, Wotan, ihnen behilflich zu sein, und er befiehlt Loge und Gretel ), Fürst Gremin (Eugen Onegin), nimmt ihm die Fesseln ab, worauf er 6 (“Bin weiche!”) und sagt mahnend zu Wotan, dass der aufgebracht, dem Geschwätz der Wassergeister Kutusow (Prokofjews Krieg und Frieden) und ich nun frei?”) einen schicksalhaften Fluch Ring zurückerstattet werden müsse, da den ein Ende zu bereiten. Die Rheintöchter setzen den Förster (Das schlaue Füchslein). An der gegen jeden ausspricht, der den Ring in Besitz Göttern ohnehin der Niedergang bestimmt sei. ihre Klage fort, während die Götter über die Royal Opera Covent Garden ist er als nimmt: Alle sollen ihn begehren, jeder, der ihn 12 Wotan lässt sich überreden; er wirft den Brücke schreiten und Walhall betreten. Dann Balstrode (in Peter Grimes, auch auf Tournee besitzt, Todesangst vor seinem Verlust erleiden Ring auf den aufgetürmten Schatz und heißt schließt Das Rheingold mit einem herrlichen in Palermo), Germont (La traviata), Ford und jämmerlich zu Tode gejagt werden, bis Freia willkommen. 13 Die Riesen beginnen Orchesternachspiel unter Einsatz von sechs (Falstaff ), Wolfram (Tannhäuser), Kurwenal Alberich wieder im Besitz des Rings ist. Mit sogleich, sich über die Verteilung des Goldes Harfen. (Tristan und Isolde), Donner (Das Rheingold ), dieser eindrucksvollen Verwünschung geht er zu streiten, und als Fasolt auf Anraten Loges Wotan (Die Walküre), Klingsor und Amfortas ab. In seinem Gefolge erklingt ein versucht, den Ring an sich zu reißen, hebt William Mann (Parsifal ), Jochanaan (Salome) und der beängstigendes, unheilvolles Thema. Fafner seinen Knüppel und erschlägt ihn. Übersetzung: Anne Steeb/Bernd Müller Musiklehrer (Ariadne auf Naxos) aufgetreten.

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Zu seinen jüngsten Rollen gehören Oroveso in der britischen Erstaufführung von Hans Opernhäuser von Ulm und Bonn Opera, dem Châtelet théâtre musical, der (Norma), Banquo (Macbeth), der König Werner Henzes The Bassarids und haben aufgenommen, wo er Rollen wie Don Canadian Opera Company und der San (Aida), der Doktor (Wozzeck) und Schigolch außerdem die Titelrolle von Le nozze di Figaro, Giovanni, Guglielmo (Così fan tutte), Sharpless Francisco Opera gastiert, sowie an der Seattle (Lulu). Seine internationale Karriere hat ihn den Sprecher (Die Zauberflöte), Alfio (Madama Butterfly), Escamillo (Carmen) und Opera, wo er den Tristan gesungen hat. Sein an bedeutende Opernbühnen und Festivals (Cavalleria rusticana), Silvio (Pagliacci), Dr. Falke (Die Fledermaus) gesungen hat. Sein Interesse an zeitgenössischen Opern hat er in ganz Europa und den USA geführt; Escamillo (Carmen) und Schlemil (Les Contes Entschluss, sich statt dessen als Tenor unter anderen in Malcolm Williamsons so war er mehrere Spielzeiten in Bayreuth d’Hoffmann) umfasst. Davon abgesehen hat er ausbilden zu lassen, führte ihn nach Paris, um The Violins of Saint-Jacques und Lucky-Peter’s beschäftigt und hat mit Dirigenten wie viele Partien an der Royal Opera Covent bei Pierre Bernac und Germaine Lubin Journey, Sir Richard Rodney Bennetts A Penny Sir Colin Davis, Sir Georg Solti, James Levine, Garden gesungen. Unterricht zu nehmen. Im Anschluss an eine for a Song, Iain Hamiltons The Royal Hunt of Carlo Maria Giulini, Wolfgang Sawallisch, Rundfunkausstrahlung von Debussys Pelléas et the Sun und David Blakes Toussaint Claudio Abbado und Daniel Barenboim Der in Athen geborene Tenor Robert Mélisande in Paris wurde er verpflichtet, erst L’Ouverture bewiesen. zusammengearbeitet. Für Chandos hat er die Ferguson wurde unter Frederick Cox am den Pelléas an der Scottish Opera zu singen Titelrolle von Sir Michael Tippetts King Priam Royal Manchester College of Music (dem und dann Gonzalve in Ravels L’Heure espagnole Robert Lloyd, in der englischen Grafschaft aufgenommen. späteren Royal Northern College of Music) unter Georg Solti am Royal Opera House Essex geboren und an der Universität Oxford ausgebildet. Er hat Pinkerton (Madama Covent Garden. Nach seinem Umzug nach ausgebildet, wandte sich mit 28 Jahren von der Der Bariton Norman Welsby wurde in Butterfly) und Don Ottavio (Don Giovanni) Großbritannien begann für ihn eine Geschichtswissenschaft ab und dem Gesang Warrington in der englischen Grafschaft an der Yorkshire Opera gesungen. Sein Debüt langjährige Zusammenarbeit mit der Sadler’s zu. Er wurde als Basssolist an die Royal Opera Lancashire geboren und hat seine an der Sadler’s Wells Opera (der späteren Wells Opera (der späteren English National Covent Garden engagiert und hat dort eine Musikausbildung am Royal Manchester English National Opera) gab er als Pinkerton, Opera), wo er außer seinem berühmten Loge ungeheuer breite Palette von Rollen gesungen. College of Music (dem späteren Royal und sang später dort Rollen wie Nero im englischsprachigen Rheingold Partien in Unter anderem hat er (in der Inszenierung des Northern College of Music) abgeschlossen. (L’incoronazione di Poppea), Turiddu Orphée aux enfers, Barbe-Bleue und Patience inzwischen verstorbenen Andrei Tarkowski) als Nach zwei Spielzeiten an der Glyndebourne (Cavalleria rusticana), Camille (Die lustige übernahm. Sein Repertoire reicht von Herodes erster britischer Bass die Titelrolle von Boris Festival Opera, wo er unter anderem die Witwe) und Tichon (Kát’a Kabanová) (Salome) und der Teilnahme an der britischen Godunow gesungen. Die Produktion mit Titelrolle in Falstaff gesungen hat, ging er an gesungen. Erstaufführung der dreiaktigen Fassung von Robert Lloyd als Boris hat später an der die Sadler’s Wells Opera (die spätere English Bergs Lulu in Covent Garden bis hin zu Kirow-Oper in Leningrad gastiert, von wo sie National Opera) und gab dort sein Debüt als Emile Belcourt, geboren in der kanadischen Eisenstein (Die Fledermaus), Graf Danilo international im Fernsehen ausgestrahlt wurde, Masetto (Don Giovanni). Seine zahlreichen Provinz Saskatchewan, wurde zunächst an der (Die lustige Witwe) und der Hauptrolle in und an der Wiener Staatsoper, wo Claudio Rollen für diese Truppe reichen von Liberto in Wiener Musikhochschule im Fach Spielbariton Man of La Mancha im Londoner West End. Abbado am Dirigentenpult stand. Außerdem L’incoronazione di Poppea bis hin zu Pentheus ausgebildet und ins Ensemble der Außerdem hat er bei der Welsh National hat Robert Lloyd die Rolle in Amsterdam und

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Florenz gesungen. Neben seinen jüngsten Opera), wo er als Seneca (L’incoronazione di Konzertpodium wie auf die Opernbühne. Er Jacques am Sadler’s Wells Theatre die Rolle des Auftritten in Covent Garden (unter anderem Poppea), der Komtur (Don Giovanni), Sarastro ist mit allen bedeutenden britischen alten Fischers kreiert. Es wurden ihm viele in Roméo et Juliette, Chérubin und Samson et (Die Zauberflöte), Silva (Ernani), Pater Operntruppen aufgetreten und war auf dem Auszeichnungen zuerkannt, zum Beispiel 1987 Dalila) war er am Teatro alla Scala in Mailand Guardiano (La forza del destino), Philipp II. europäischen Kontinent unter anderem an der der Orden Officer of the Order of the British zu Gast (Der fliegende Holländer und Parsifal ), (Don Carlos), Heinrich der Vogler (Lohengrin), Bayerischen Staatsoper, am Theater an der Empire (OBE). an der Deutschen Oper Berlin (Tristan und Pogner (Die Meistersinger von Nürnberg), Wien, am Theater am Gärtnerplatz und drei Isolde), an der Nederlandse Opera (Pelléas et Fafner, Hunding und Hagen (Der Ring des Spielzeiten lang an der Nederlandse Opera Der in Melbourne geborene australische Tenor Mélisande), bei den Salzburger Festspielen Nibelungen) sowie in tragenden Rollen in engagiert. In Süd- und Nordamerika hat er am Gregory Dempsey gab sein Debüt als Don (Le nozze di Figaro, Don Giovanni und Il barbiere di Siviglia, Rigoletto, Madama Teatro Colón in Buenos Aires, an der New Ottavio an der Melbourne National Oper Les Troyens), an der Metropolitan Opera in Butterfly, Manon, Oedipus Rex und Peter Yorker Metropolitan Opera, an der San Diego Company, ehe er ins Ensemble der New York (Die Zauberflöte, Fidelio, Rigoletto, Grimes auftrat. Seine sonstigen Engagements Opera und an vielen anderen Bühnen Elizabethan Trust Opera Company Aida und Faust), an der San Francisco Opera umfassten Auftritte an der Royal Opera gesungen. Zu seinen bedeutenden Partien aufgenommen wurde. Sein Auftritt als Jenik in (L’incoronazione di Poppea und Don Carlos) Covent Garden, der Welsh National Opera, zählen Dr. Bartolo, Rigoletto, Fra Melitone Smetanas Die verkaufte Braut an der Sadler’s und an der Lyric Opera of Chicago (Simon der Glyndebourne Festival Opera, der Opéra (La forza del destino), Sharpless, Tonio Wells Opera (der späteren English National Boccanegra). Er hat unter den renommiertesten de Marseille, der San Francisco Opera und in (Pagliacci), Papageno, Alberich, Beckmesser, Opera) führte zu einem festen Engagement als Dirigenten der Welt gesungen und ist ein viel Sydney. Nachdem er 1990 an der Opera Faninal (Der Rosenkavalier), Krusvina Tenorsolist der Truppe. Er hat zahlreiche beschäftigter Solist auf der Konzertplattform, Australia in Meyerbeers Les Huguenots (Die verkaufte Braut) und Sir Robert Cecil Partien gesungen, darunter Florestan, Max, im Rundfunk und auf Tonträger. 1991 wurde aufgetreten war, verabschiedete er sich von der (Gloriana); daneben hat er zahlreiche Rollen in Erik (Der fliegende Holländer), David er mit dem britischen Orden und Titel Oper, kehrte jedoch 1993 auf die Bühne Werken von Gilbert und Sullivan und solchen (Die Meistersinger von Nürnberg), Mime, Don “Commander of the Order of the British zurück, um an der Opera North Alvise von Offenbach gespielt. Er war an mehreren José, Canio, Gregor (Die Affäre Makropulos), Empire” ausgezeichnet. Badoero in La Gioconda zu singen. Er hat mit britischen Erstaufführungen beteiligt, Skuratov (Aus einem Totenhaus), Tom Rakewell namhaften Künstlern wie Dame Joan beispielsweise an Haydns Orfeo ed Euridice (als und Essex (Gloriana). Außerdem hat er häufig Der australische Bass Clifford Grant Sutherland, Otto Klemperer, Sir Adrian Boult Creonte), Rossinis La pietra del paragone (als an der Royal Opera Covent Garden gastiert, absolvierte seine Ausbildung in Sydney, und Sir Colin Davis zusammengearbeitet. Pacuvio), Prokofjews Krieg und Frieden (als an der Welsh National Opera und an der Melbourne und London; er gab sein Napoleon, an der English National Opera) Scottish Opera und ist sowohl beim Operndebüt mit der New South Wales Opera Der englische Bariton Derek Hammond- und Gottfried von Einems Der Besuch der Edinburgh Festival als auch beim Aldeburgh Company als Raimondo in Lucia di Stroud hat bei Elena Gerhardt und Gerhard alten Dame (als der Lehrer, in Glyndebourne). Festival aufgetreten. Im Ausland hat er an Lammermoor. Danach ging er an die Sadler’s Hüsch in München und London studiert, und Er hat anläßlich der Uraufführung von der San Francisco Opera gesungen, in Brüssel, Wells Opera (die spätere English National seine Karriere erstreckt sich ebenso auf das Malcolm Williamsons The Violins of Saint- in Stuttgart und anderen europäischen

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Städten. Inzwischen ist er in Australien Progress) beim Glyndebourne Festival gegeben, für die Truppe unter anderem Ilia (Idomeneo), Arabella sowie Dame Quickly (Falstaff ), ansässig und hat dort häufig an der Australian Delilah (Samson et Dalila) an der English die Gräfin (Le nozze di Figaro), Donna Katisha (The Mikado), Mrs. Sedley (Peter Opera (der späteren Opera Australia) und der National Opera North (der späteren Opera Elvira und Donna Anna, Fiordiligi, die Grimes) und mehrere andere Partien umfasst Victoria State Opera gastiert. Außerdem ist er North), Brangäne (Tristan und Isolde) in Titelrolle von Euryanthe, Lucrezia Contarini hat, darunter insbesondere Erda in Wagners beim Adelaide Festival aufgetreten (in der Düsseldorf, Marina Mnischek (Boris (I due Foscari), Gilda, Violetta, Massenets Ring-Zyklus. Sie hat häufig an der Royal Opera Titelrolle von Die Ausflüge des Herrn Broucvek Godunow) in Frankfurt und Preziosilla an der Manon, Rosalinde (Die Fledermaus), die Covent Garden gesungen und ist außerdem an und als Mark in Tippetts The Midsummer Pariser Opéra. Ihr Amerikadebüt erfolgte als Marschallin (Der Rosenkavalier), Jenny (in der Welsh National Opera (als Filipjewna in Marriage). Carmen an der San Diego Opera, wohin sie Sir Richard Rodney Bennetts The Mines Eugen Onegin), der Opera North (als die zwei Jahre später zurückgekehrt ist, um die of Sulphur) und die Titelrolle in der Amme in Ariane et Barbe-Bleue und Auntie in Die Mezzosopranistin Katherine Pring wurde Prinzessin Eboli zu singen. Als etablierte Uraufführung von Iain Hamiltons Anna Peter Grimes) und der Scottish Opera (in James am Royal College of Music in London und am Konzert- und Liedsängerin ist sie mit Karenina interpretiert, sowie Freia im MacMillans Ines de Castro) aufgetreten. Genfer Konservatorium ausgebildet und gab weltbekanten Dirigenten wie Claudio Abbado, berühmten Ring-Zyklus unter der Leitung Außerdem hat sie bei den Festivals von ihr Operndebüt als Flora (La traviata) am Christoph von Dohnanyi und Sir Charles von Reginald Goodall. Außer an der Royal Glyndebourne, Aldeburgh, Wexford Grand Théâtre in Genf. Nachdem sie an die Mackerras aufgetreten. Opera Covent Garden war sie an der Welsh und Camden sowie bei den Londoner Sadler’s Wells Opera (die spätere English National Opera, der Scottisch Opera und der BBC-Promenade-Konzerten gastiert. Sie ist im National Opera) engagiert worden war, sang Die kanadische Sopranistin Lois McDonall Dublin Grand Opera zu sehen, wie bei den Konzertsaal, bei Festspielen und zusammen sie Rollen wie Ottavia (L’incoronazione di hat wegen ihrer natürlich schönen Stimme BBC-Promenade-konzerten in London. mit Opernensembles in ganz Europa Poppea), Dorabella (Così fan tutte), Azucena und sicheren Technik, die es ihr gestattet hat, Zu ihren Aufnahmen auf Tonträger zählt aufgetreten, beispielsweise an den (Il trovatore), die Prinzessin Eboli (Don Carlos), mit gleicher Eleganz Mozart und Richard Donizettis Maria Padilla für die Reihe Opernhäusern von Lyon, Straßburg, Genf und Suzuki (Madama Butterfly), Prinz Orlofsky Strauss zu singen, besonderes Renommee Opera Rara. Hamburg, an der Pariser Opéra und am (Die Fledermaus), Carmen, Jokaste (Oedipus erworben. Ihr Debüt an der Canadian Châtelet théâtre musical, am Théâtre Royal de Rex) und Agave in der britischen Opera Company gab sie in Wolf-Ferraris Die Altistin Anne Collins hat am Royal la Monnaie in Brüssel und am Teatro alla Scala Bühnenpremiere von Henzes The Bassarids. Il segreto di Susanna. An den Städtischen College of Music studiert und ihr London- in Mailand. In den USA hat sie unter anderem Ihr Debüt an der Royal Opera Covent Garden Bühnen Flensburg hat sie die Constanze Debüt mit einem Soloabend im Purcell Room an der Metropolitan Opera in New York gab sie als Thea in Tippetts The Knot Garden, (Die Entführung aus dem Serail), Elsa gegeben. Bald darauf wurde sie an die Sadler’s gastiert. Sie hat zahlreiche Aufnahmen auf und seither ist sie dorthin zurückgekehrt, um (Lohengrin), Tosca und Arabella gesungen, ehe Wells Opera (die spätere English National Tonträger vorgenommen, darunter (für Preziosilla (La forza del destino) und Kate sie zum ersten Mal an der Sadler’s Wells Opera Opera) engagiert, wo ihr Repertoire Rollen in Chandos) die mit einem Grammy Julian (in Brittens Owen Wingrave) zu singen. (der späteren English National Opera) als L’incoronazione di Poppea, , ausgezeichnete Peter-Grimes-Aufzeichnung Außerdem hat sie Baba the Turk (The Rake’s Händels Semele aufgetreten ist. Danach hat sie Un ballo in maschera, Madama Butterfly und unter der Leitung von Richard Hickox.

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Die in Birkenhead geborene und mit Shelagh Squires hat an der Guildhall School Das von der Kritik ebenso wie vom Publikum , Il barbiere di Siviglia, Rigoletto Stipendien in London und Mailand of Music and Drama studiert. Sie ist an der gefeierte Orchester der English National (in der Inszenierung von Jonathan Miller), ausgebildete Sopranistin Valerie Masterson hat English National Opera aufgetreten, beim Opera unter Konzertmeister Barry Griffiths La traviata und Werther. eine Saison am Salzburger Landestheater Glyndebourne Festival und mit der hat in den letzten Jahren mehrere angesehene gesungen, ehe sie als Sopransolistin an die Glyndebourne Touring Opera sowie unter Preise gewonnen, beispielsweise den Der englische Dirigent Reginald Goodall D’Oyly Carte Opera Company engagiert anderem an der Metropolitan Opera in Musikpreis der Royal Philharmonic Society und wurde 1901 geboren und studierte wurde. Sie hat bei allen bedeutenden britischen New York; außerdem war sie bei den einen Olivier Award für herausragende Orchesterleitung am Royal College of Music Operntruppen gastiert, darunter auch bei der Internationalen Festspielen in Bergen, in Leistungen im Bereich der Oper. Das unter Malcolm Sargent und Constant Glyndebourne Festival Opera, und ist im Wien und in Japan zu Gast. Ihr breit Orchester ist von zentraler Bedeutung für das Lambert. Von 1929 bis 1936 war er Organist Ausland bei den Festspielen in Aix-en- gefächertes Repertoire umfasst Ottavia künstlerische Leben der Truppe und war nicht und Chorleiter der Kirche St. Alban the Provence, an der Pariser Opéra und in den (L’incoronazione di Poppea), Marcellina nur bei Opernvorstellungen im Londoner Martyr im Londoner Stadtteil Holborn, Opernhäusern von Toulouse, Nancy, (Le nozze di Figaro), Ulrica (Un ballo in Coliseum, sondern auch auf dem wo er die britische Erstaufführung von Montpellier, Genf, Prag, München, Mailand, maschera), Magdalene (Die Meistersinger Konzertpodium zu sehen. Zusätzlich sind viele Chorwerken von Bruckner, Strawinski und Barcelona, Dublin, Santiago, San Francisco, von Nürnberg), Herodias (Salome), Annina der Musiker am Baylis-Programm der für Szymanowski sowie frühe Werke von Britten Houston, Chicago und New York aufgetreten. (Der Rosenkavalier), Adelaide (Arabella), Schul- und Gemeindearbeit zuständigen besorgte. Gegen Ende der 1930er-Jahre Ihr umfangreiches Repertoire reicht von Martha (Faust), die Hexe (Rusalka) und Abteilung des Orchesters beteiligt und war er unter anderem als Assistent von Monteverdis L’incoronazione di Poppea bis hin Filipjewna (Eugen Onegin). arbeiten mit dem English National Opera Albert Coates und Malcolm Sargent tätig. zu Brittens The Turn of the Screw. Darüber Studio an der Entwicklung neuer Opern, Zu Beginn des Zweiten Weltkriegs wurde er hinaus hat sie an der Uraufführung von Henzes Die Altistin Helen Attfield hat an der Royal speziell an Mark-Anthony Turnages The Silver Dirigent des im südenglischen Bournemouth und der britischen Academy of Music studiert und dort Tassie, das im Februar 2000 uraufgeführt ansässigen Wessex Philharmonic Erstaufführung von Sallinens Der König geht zahlreiche Preise gewonnen. Mit der English wurde. Das Orchester hat an vielen Orchestra. nach Frankreich mitgewirkt, jeweils am Royal Opera Group war sie an der Uraufführung von Einspielungen mitgewirkt, zum Beispiel an Im Juni 1945 dirigierte er als Mitglied der Opera House Covent Garden. Zu ihren Brittens Death in Venice beteiligt. Sie hat nicht deren von Verdis Otello unter Mark Elder Sadler’s Wells Opera (der späteren English zahlreichen Aufnahmen auf Tonträger zählen nur mehrere Rollen an der English National die demnächst bei Chandos herauskommen National Opera) die Uraufführung von Peter Giulio Cesare und La traviata für Chandos in Opera gesungen, sondern war auch als wird. Dies geschieht unter der Grimes im neu eröffneten Sadler’s Wells Zusammenarbeit mit der Peter Moores Maddalena (Rigoletto) an der Welsh National Schirmherrschaft der Peter Moores Theatre. Im Jahr darauf wechselte er sich in Foundation. 1989 wurde sie von der britischen Opera zu sehen und ist mit der Handel Foundation. Andere Aufnahmen des der ersten Nachkriegsspielzeit des Krone mit dem Orden und Titel “Commander Opera Society und an der Brüsseler Oper Orchesters für Chandos und die Peter Glyndebourne Festival bei den ersten of the Order of the British Empire” geehrt. aufgetreten. Moores Foundation sind Maria Stuarda, Aufführungen von Brittens The Rape of

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Lucretia als Dirigent mit Ernest Ansermet ab. zurückkehrte, um seine heute legendäre Kurz darauf trat er dem musikalischen Stab vollständige Produktion vom Ring des der Royal Opera Covent Garden bei, wo er Nibelungen zu erarbeiten, die zwischen über die folgenden fünfundzwanzig Jahre hin 1970 und 1973 Gestalt annahm und seinerzeit ein Repertoire dirigierte, das von Il trovatore die erste seit vielen Jahren war, die auf

bis Troilus and Cressida reichte. Englisch gesungen wurde. Später leitete er Wilson Reg Nur selten erhielt er Gelegenheit, Opern Das Rheingold und Die Walküre an der seines Lieblingskomponisten Richard Wagner Royal Opera, Tristan und Isolde und zu leiten. Diese Unterlassungssünde wurde Die Walküre an der Welsh National Opera 1968 wettgemacht, und zwar nicht von der sowie Tristan und Parsifal an der English Royal Opera, sondern von Sadler’s Wells, National Opera. 1975 wurde er mit dem wohin er eingeladen wurde, eine Orden CBE ausgezeichnet und 1985 zum Neuinszenierung der Meistersinger von Ritter geschlagen. Reginald Goodall Nürnberg zu dirigieren. Der Erfolg war so verstarb 1990 im Alter von achtundachtzig durchschlagend, dass er an das Haus Jahren.

Fasolt, Wotan and Loge, Scene 2

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Fafner, Fasolt, Wotan, Donner and Froh, Scene 2 Fricka and Loge, Scene 2

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associée avec la “réalité” d’une représentation vivent sous la terre, le veut pour servir ses Richard Wagner: Das Rheingold enregistrée sur le vif. propres fins maléfiques. De l’Orfeo de Monteverdi à Die Zauberflöte de Mozart, Avant-propos de Lord Harewood cylindres Mapleson de représentations d’Hippolyte et Aricie de Rameau au Freischütz de L’English National Opera, et avant lui le données au Metropolitan Opera de Weber, la superposition entre la lumière et les Sadler’s Wells, vise le Théâtre musical et New York vers 1900. Ils nous parviennent au ténèbres a été un sujet de fascination pour les non le grand opéra. Jusqu’à un certain point, travers d’une avalanche de bruits parasites, Lord Harewood compositeurs d’opéras. Wagner reconnut que notre répertoire est choisi avec cette idée à mais offrent encore la preuve unique de la Directeur général tout n’est pas noir et blanc, mais très largement l’esprit; jusqu’à un certain point également, manière dont on chantait autrefois. D’autres English National Opera teinté d’ombres de gris. Ainsi, Wotan a recours cette situation résulte de notre habitude de connaîtront les enregistrements publiés Août 1975 à la ruse et au vol, et se décrit lui-même comme rendre l’opéra proche du public, parce et inédits de HMV, réalisés à Covent l’alter ego du gnome, “Lumière-Alberich”, qu’il est présenté dans sa propre langue, Garden vers les débuts de l’enregistrement Traduction: Francis Marchal tandis qu’Alberich, qui après tout obtient l’or plutôt que de le tenir à bout de bras, comme électrique, en 1926 et 1927: l’Adieu de du Rhin en se pliant à la condition de renoncer il peut arriver quand il est chanté dans une Melba, des fragments d’une représentation Une introduction à “Der Ring des à l’amour, est investi aussi bien par la dignité langue étrangère, aussi bien comprise d’Otello avec Zenatello, et des extraits de Nibelungen” que par la malfaisance. qu’elle soit. Nous visons le “caractère Boris et de Mefistofele avec Chaliapine. Wagner conçut l’idée d’un drame musical Wagner travailla pendant plusieurs années immédiat” de l’expérience théâtrale, plutôt Beaucoup d’entre nous les considèrent s’inspirant de l’histoire du mythe des aux paroles et à la musique, commençant par que le processus cérébral qui résulte d’une comme inestimables, car non seulement Nibelungen en 1848, à peu près à l’époque où un résumé en prose de l’histoire avant de se longue étude – chacun étant admirable ils offrent la preuve audible d’un style il achevait le dernier de ses opéras traditionnels, lancer dans le texte de ce qu’il appela Siegfrieds mais complètement différent, aussi différent et d’un niveau d’interprétation datant de Lohengrin. Il est possible d’apprécier Der Ring Tod (La Mort de Siegfried). Cependant, il qu’être dehors sous une averse l’est de sa presque cinquante ans, mais ils possèdent des Nibelungen (L’Anneau du Nibelung) à déclara à un ami en décembre 1856 que “les description. également un impact “vivant” absent des plusieurs niveaux: comme un conte de fées, une Nibelungen commencent à m’ennuyer”; en Il existe une controverse depuis des années studios d’enregistrement réalisés vers la allégorie politique ou un tract philosophique, effet, il abandonna le Ring l’été suivant, et ne parmi les acheteurs de disques (j’écris en même époque – ceux de Chaliapine par exemple. En son essence, il traite du combat revint à la composition de celui-ci qu’en 1869, qualité de gros consommateur de microsillons) sont particulièrement révélateurs de ce éternel entre le bien et le mal, et du contraste époque à laquelle il avait composé Tristan und à propos des mérites des enregistrements point de vue. qui existe entre l’amour du pouvoir et le Isolde et Die Meistersinger von Nürnberg (Les pris sur le vif comparés à ceux effectués en Il y a donc une certaine cohérence dans une pouvoir de l’amour. Wotan, le chef des dieux, Maîtres chanteurs de Nuremberg). Depuis sa studio. Votre collectionneur invétéré connaîtra compagnie d’opéra, qui tente de saisir le veut un pouvoir dont les fins sont bénignes; conception jusqu’à son achèvement, ce projet les réenregistrements réalisés à partir des caractère immédiat du Théâtre musical, d’être Alberich, le chef des Nibelungen, gnomes qui gigantesque lui demanda vingt-six ans: années

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de trouble dans sa vie privée ainsi que sur la l’interdépendance entre les sons verbaux et (La Walkyrie) et de Das Rheingold. Der junge Ayant écrit le texte en ordre inverse, Wagner scène politique de l’Europe. musicaux, et de la nécessité pour les paroles Siegfried fut rebaptisé Siegfried, tandis que composa la musique à partir du début: ainsi, il Ce n’est pas seulement l’ennui qui le poussa, chantées d’être audibles; d’où il s’ensuivit que Siegfrieds Tod devint Götterdämmerung, avec commença Das Rheingold en 1853, un an comme il le raconta, à abandonner son jeune les ensembles et les chœurs n’avaient plus leur des omissions et des changements significatifs, après la rédaction du livret, alors que dans le Siegfried sous le tilleul, où il “lui fit des adieux place. notamment la fin où maintenant les dieux cas de Götterdämmerung, commencé en 1869, avec des larmes sincères”. Ayant fui Dresde Cependant, Wagner ne suivit pas toujours à périssent dans l’incendie de leur palais, le il mit en musique le texte qu’il avait écrit pour échapper à l’arrestation en raison de sa la lettre ses propres préceptes: en effet, on peut Walhalla. Reconnaissant l’influence de l’Orestie (quoique avec des révisions) vingt ans plus tôt. participation à la Révolution de 1848, il vivait trouver un quintette et de nombreux chœurs et du Prométhée d’Eschyle, Wagner décrivit le Bien entendu, son style musical se développa en exil à Zürich avec peu d’espoir de jamais dans Die Meistersinger von Nürnberg, ainsi Ring comme étant une trilogie (Das Rheingold pendant cette période, et la partition de voir le Ring représenté sur scène; et son style qu’un chœur et un trio au deuxième acte de servant de hors-d’œuvre). Götterdämmerung est beaucoup plus subtile et était en train de changer de manière si radicale Götterdämmerung (Le Crépuscule des dieux). En 1854, Wagner prit connaissance des complexe que celle de Das Rheingold. qu’il lui fallait le faire passer, c’est le cas de le L’opéra qui ouvre le cycle du Ring, écrits du philosophe Arthur Schopenhauer – Pourtant, aussi disparates qu’ils soient, les dire, par Tristan. Le fait que Wagner ait Das Rheingold (L’Or du Rhin), offre un bon “un râleur d’un genre des plus prononcés” quatre opéras se tiennent ensemble grâce à persévéré jusqu’à terminer le Ring puis, grâce à exemple de la mise en pratique des théories selon l’expression de Bertie Wooster, un l’outil de liaison connu sous le nom de ses propres efforts, à le faire représenter dans wagnériennes, mais il restait beaucoup de personnage de l’écrivain humoriste anglais leitmotiv (de l’allemand Leitmotiv, motif un théâtre spécialement construit à cet effet, travail avant que Wagner puisse commencer à P.G. Wodehouse. La version révisée de la fin conducteur). tient véritablement du miracle. composer la musique. Au départ, il prévoyait de l’histoire du Ring avait été écrite Les réminiscences musicales dans l’opéra Ses sources incluent cinq poèmes épiques, de n’écrire qu’un seul opéra, qui pourrait auparavant; mais Wagner rédigea par la suite n’avaient rien de nouveau. Un exemple bien en islandais, en allemand moyen et en vieux s’achever sur une note d’optimisme avec la plusieurs fins différentes au cours de la connu est celui de la petite phrase de hautbois norrois, qui datent tous du treizième siècle. supériorité morale et physique des dieux composition du cycle, notamment une qui qui nous dit, à l’Acte II de Fidelio de Comme pour tous ses opéras, avant et après le solidement établie. La remarque de l’un de ses reflète la vue pessimiste de Schopenhauer selon Beethoven, que Florestan endormi est Ring, Wagner écrivit lui-même ses livrets. amis selon laquelle l’histoire exigerait du laquelle la vie n’est que la négation de la mort. maintenant en train de rêver à l’épouse à Mais, à l’inquiétude de ses amis, commençant public une quantité irréaliste de connaissances Ici, Brünnhilde parvient à un état propos de laquelle il vient juste de chanter. La par Siegfrieds Tod, il reprit une ancienne touchant le contexte l’incita d’abord à d’illumination bouddhiste en arrivant à la “fin réussite de Wagner fut de créer un réseau de technique poétique appelée “Stabreim” qui fait développer Siegfrieds Tod, puis à ajouter ce que bénie de toute chose éternelle”. Ce n’est pas la leitmotive: phrases brèves et éloquentes appel à des alitérations explosives plutôt qu’à la l’on pourrait qualifier de “prologue”, Der junge version que Wagner utilisa finalement, mais associées à des individus, des objets, des scansion et aux rimes. Ceci s’accordait avec ses Siegfried (Le Jeune Siegfried). Voyant la c’est une indication de son état d’esprit au sentiments et bien d’autres choses encore, qui théories, exposées dans les essais qu’il écrivit en nécessité d’un plus grand retour en arrière, moment où il composait la fin de Die Walküre réapparaissent dans la ligne vocale, et en exil à Zürich, et qui traitaient entre autres de Wagner écrivit les textes de Die Walküre et le début de Siegfried. particulier dans l’orchestre. Ils sont bien plus

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que les “cartes de visite” ridiculisées par hautbois ou une clarinette basse par exemple – Wagner. Des productions de Das Rheingold et donné que Cosima n’était alors âgée que de Debussy (qui pourtant ne dédaigna pas qui exprime une situation ou répond à une de Die Walküre furent également données au quinze ans et qu’elle ne devait devenir sa d’utiliser ce moyen dans Pelléas et Mélisande): phrase vocale. L’une des couleurs les plus grand dam du compositeur. En effet, Wagner maîtresse qu’en 1864, date à laquelle elle simple répétition, modification mélodique ou caractéristiques du Ring est créée par ce que était encore déterminé à ce que le cycle épouserait le chef d’orchestre Hans von Bülow harmonique, et combinaison – en particulier l’on a appelé les “tubas Wagner” (joués par des complet du Ring soit représenté dans son dont elle aurait deux filles, la gestation de vers la fin du cycle – avec d’autres motifs, tous membres de la puissante section des huit cors), propre théâtre et dans le cadre d’un festival. l’opéra fut plutôt moins longue. La première concourent à créer une tapisserie solidement qui entonnent le leitmotiv du “Walhalla” à la En 1871, il se décida pour la ville provinciale esquisse fut terminée en moins de onze tissée. scène deux de Das Rheingold. de Bayreuth. La construction du nouveau semaines et la copie au propre de Wagner de la Des livres ont assigné des noms aux divers En 1862, Wagner n’était plus bani des états théâtre fut financée par une souscription partition d’orchestre complète fut prête en leitmotive, mais au fur et à mesure que la allemands. Il publia l’année suivante une publique, Louis II apportant son renfort à un septembre 1854, alors qu’il était déjà parvenu définition des plus abstraits se veut plus édition du texte du Ring avec une préface dans moment critique. Wagner acheva au milieu de la première esquisse de précise, ceux-ci peuvent se révéler encore plus laquelle il exprimait l’espoir qu’un prince Götterdämmerung en 1874 et Der Ring des Die Walküre. insaissables. Rien de tout cela ne doit troubler allemand fournirait l’argent nécessaire Nibelungen reçut sa première représentation Contrairement aux opéras suivants du Ring, l’auditeur qui prend connaissance du Ring permettant au cycle – pas encore achevé – intégrale en août 1876. Parvenu en 1889, des chacun comportant trois actes, Das Rheingold pour la première fois, car il parviendra à d’être représenté dans un théâtre spécialement productions avaient été données dans les se déroule sur une durée ininterrompue de reconnaître les leitmotive après quelques construit. Sa prière fut rapidement entendue. opéras du monde entier; aujourd’hui encore, le quelque deux heures et quarante-cinq minutes. auditions. Toutefois, les correspondances ne Le prince héritier de Bavière âgé de dix-huit Ring demeure l’ouvrage de référence par lequel Les quatre scènes sont séparées par de longs sont pas toutes évidentes: il est utile de ans monta sur le trône en 1864 et devint le roi est jugé tout théâtre aspirant à la grandeur. interludes orchestraux qui illustrent souligner, pour ne prendre qu’un exemple, la Louis II. Il aida Wagner à rembourser ses brillamment la conception que Wagner avait similarité des contours des leitmotive du dettes, l’installa dans une maison à Munich, © 2000 Richard Lawrence de la composition comme étant “l’art de la “Walhalla” et de “anneau” – respectivement lui offrit des cadeaux en numéraires et un Traduction: Francis Marchal transition”. Après, par exemple, qu’Alberich a noble et sinistre – qui confirme, ou plutôt salaire annuel, et l’encouragea à poursuivre son dérobé l’or à ses gardiennes, les Filles du Rhin, anticipe notre impression que Wotan et grand œuvre. Das Rheingold la sonorité farouche du leitmotiv de Alberich représentent les deux faces d’une Leurs relations eurent des hauts et des bas, L’automne 1853 fut, rétrospectivement, une “l’anneau”, ancré sur la pédale de dominante même pièce. pour dire les choses avec modération, mais période capitale pour Wagner. En effet, il se d’ut mineur, se voit successivement adoucie L’un des nombreux plaisirs du Ring, et non c’est grâce à Louis II de Bavière que Tristan mit à la composition de Das Rheingold, et il par les bois, les altos et les cors avant de se des moindres, est son orchestration. Si Wagner und Isolde et Die Meistersinger von Nürnberg rencontra Cosima, la fille de Franz Liszt, qui transformer et devenir le motif imposant du a recours à des ensembles gigantesques, très furent créés au théâtre de la cour, qui vit allait devenir la mère de ses enfants et, “Walhalla” entonné par les cuivres. Une pédale souvent c’est un seul instrument à vent – un également les reprises d’opéras plus anciens de finalement, sa seconde épouse. Mais étant harmonique encore plus longue suit la

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deuxième scène et introduit le son produit par Mendelssohn pour la diriger pendant ses être chantée séparément comme morceau de grandiose procession vers le Walhalla. Wagner l’équipe des forgerons d’Alberich en train de années de chef d’orchestre. concert, et l’a été, est la seule fois où Wagner le caractérise par des motifs vacillants marteler sur dix-huit enclumes. Le si bémol Comme on peut s’y attendre dans une s’approche le plus près d’une aria. appropriés à un dieu du feu et, de manière mineur du Nibelheim complète son relatif œuvre conçue pour servir d’arrière-plan au Si Wotan est fondamentalement bon, avec révélatrice, par une phrase qui tient du motif majeur, le ré bémol du Walhalla, en un autre drame à venir, un grand nombre (mais ils sont un côté sombre, et Alberich de deux notes “Rheingold! Rheingold!” et de exemple du lien qui unit Alberich et Wotan. loin d’être tous là) des leitmotive du Ring sont fondamentalement mauvais, mais possédant au sa modification chromatique. Cependant, la mère de toutes les pédales présents dans Das Rheingold. L’un des plus moins un sens de ce qui est le bien et le mal, Loge ne reparaît pas, bien que sa musique harmoniques est entendue au tout début du importants, qui est en deux segments, apparaît Loge est constamment ambivalent. (Le rôle, soit réentendue et, dans Götterdämmerung, la prélude, où les contrebasses maintiennent un quand les Filles du Rhin saluent l’or: la fanfare qui convient mieux à un Heldentenor [ténor Troisième Norne annonce à ses sœurs sa fin mi bémol grave pendant non moins de 136 “Heiajaheia!” et le motif de deux notes héroïque], est tellement convoité par les ténors proche. Erda, d’autre part, réapparaît dans mesures. Elles sont rejointes à la quinte “Rheingold! Rheingold!”, modifiés dramatiques que le chanteur choisi pour le rôle Siegfried. Là, elle est confondue par les supérieure par les bassons; puis un cor se mêle mélodiquement et harmoniquement, se de Mime dans Siegfried reçoit souvent nouvelles apportées par Wotan, le Wanderer. doucement avec un arpège ascendant, puis un chargent de nouvelles subtilités de sens tandis également celui de Loge, ce qui nécessite – Dans Das Rheingold, elle est toute sagesse autre et un autre encore jusqu’à ce que que l’épopée progresse. mais pas ici, heureusement – l’emploi d’un comme elle prétend l’être. Annoncée par une l’ensemble des huit cors reprenne à l’infini Bien qu’il les eût parées chacune d’un nom autre chanteur pour le Mime de Das tendre phrase ascendante dérivée du prélude, cette phrase élémentaire. Wagner cherche à différent, Wagner considérait les Filles du Rhin Rheingold.) Loge est seulement un demi-dieu, elle presse Wotan de donner l’anneau aux évoquer l’origine de toute chose, une absence comme une unité, aussi de temps en temps, ayant dédaigné les pommes porteuses de vie de géants. Ensuite, elle prédit la disparition des quasi-totale du temps et du mouvement, en comme ici, elles chantent en harmonie. Freia, et les autres dieux se méfient de lui: ainsi dieux. Le passage crucial se trouve à “Tout ce utilisant les mêmes moyens que Beethoven au Ailleurs, cependant, il suit sa propre règle que Wotan le lui dit, “Souviens-toi que parmi qui est a une fin! Un jour maléfique se lève début de sa Neuvième Symphonie. Peu à peu, jusqu’au point qu’aucun personnage ne les dieux je suis ton seul ami”. Nous ne savons pour les dieux”, quand la phrase ascendante l’arpège se transforme en un mouvement prononce une parole pendant qu’un autre est jamais ce que Loge pense réellement. Plusieurs rencontre son opposée, une phrase précipité de doubles croches représentant les en train de chanter. En fait, comme il est fois, il propose que l’or devrait être restitué aux descendante jouée par les violons et les altos eaux du Rhin. Wagner eût été heureux de suggéré dans l’Introduction précédente, Filles du Rhin; pourtant, face à Fricka, il qui peut très facilement passer inaperçue. La reconnaître l’influence de Beethoven; il se Das Rheingold est le locus classicus de défend sa possession comme le moyen de scène, toute chargée de menaces qu’elle soit, serait peut-être moqué qu’on lui fasse l’idéalisme wagnérien. Il ne règne aucun retenir Wotan contre le vagabondage extra- offre un rare moment de répit entre les remarquer la ressemblance qui existe ici avec ensemble, et la mise en musique des paroles conjugal, et il se moque volontiers des Filles querelles qui opposent les dieux et les géants et l’ouverture de Mendelssohn Die schöne est le plus souvent une syllabe par note, sans du Rhin quand elles se lamentent de leur le premier effet de la malédiction lancée par Melusine (“La Belle Mélusine”), quoiqu’il eût effusions lyriques ou rhétoriques. La grande perte. Il a honte de se voir associé avec les Alberich contre l’anneau, à savoir le meurtre suffisamment admiré la musique de narration de Loge à la Scène 2, qui pourrait dieux; et pourtant, il se joint à eux dans leur brutal de Fasolt par son frère Fafner.

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Les nuages qui s’étaient symboliquement création est un processus long et minutieux, d’instrumentistes et de chanteurs spécifiques, son nouvel ouvrage. Ceci n’était pas seulement assemblés sont dispersés par le marteau de qui part d’une esquisse et conduit à une œuvre ainsi qu’un public spécifique. La une question de différences régionales, car Donner, tandis que Froh fait apparaître un polie et repolie. Plus que pour tout autre correspondance de Mozart avec son père Mozart alla jusqu’à utiliser deux niveaux de arc-en-ciel. Wotan se défait de sa dépression forme d’art, le créateur d’œuvres scéniques a raconte non seulement les concessions qu’il langue et deux styles musicaux différents dans devant la tournure des événements, et les toujours modelé ses ouvrages en fonction de dut faire à cause du manque de technique de la même ville: dans Così fan tutte pour son dieux entrent dans leur nouveau palais. son public particulier. Il est clair qu’un tel ou tel chanteur, mais également les effets public impérial et dans Die Zauberflöte pour Wagner exige sept harpes pour cette scène: six compositeur qui implique son auditoire crée qu’il pouvait obtenir en exploitant les son public populaire. Gluck, Rossini, dans l’orchestre et une septième accompagnant une réponse émotionnelle plus forte, qui peut avantages offerts par les effectifs mis à sa Donizetti et Verdi ont écrit leurs opéras les Filles du Rhin en coulisses. Le chromatisme être cumulative. disposition. Un grand nombre des rôles de destinés à Paris sur des livrets en français et de leur plainte est, c’est le cas de le dire, le ver Si vous lisez la correspondance traitant de la mezzo-soprano colorature de Rossini furent pour le goût du public parisien. dans le fruit, mais l’impression durable sur création d’un chef-d’œuvre lyrique, deux composés pour sa maîtresse Isabella Colbran. Quel était le sort de l’opéra quand il l’auditoire est celle d’une splendeur sans choses s’imposeront avec une clarté frappante. Même la censure fut fréquemment une force parvenait à la scène? La première était pareille. Le caractère combien illusoire de cette En premier lieu, le compositeur presse son formatrice, et l’adjectif formatrice est utilisé ici supervisée par le compositeur, et une fois que splendeur devient plus qu’apparent au fur et à librettiste vers un objectif, alors que lui-même intentionnellement. Un ballo in maschera doit la structure musicale était en place, cette mesure que ce déploie ce grand drame. modifie sans cesse ses esquisses au fur et à sa forme actuelle resserrée au conflit qui production devenait le modèle de référence de Das Rheingold fut créé à Munich en mesure qu’il parvient à son but. Ce opposa Verdi à la censure. Et pourtant, le l’ensemble des représentations à venir. De la septembre 1869. Sa première représentation développement se poursuit fréquemment après public fut peut-être la force extérieure la plus même manière, la D’Oyly Carte Opera dans le cadre du cycle complet du Ring eut la première représentation, soit entre les puissante. Le compositeur d’opéras, homme Company répète les mises en scène originales, lieu au Festival de Bayreuth en août 1876. premières repésentations, ou lors d’une reprise de théâtre, savait que le succès de son œuvre, et l’exemple brillant du succès d’un tel système ultérieure. Deux des arias les plus réussies de et son propre succès, dépendait de la réaction est, aujourd’hui, la comédie musicale © 2001 Richard Lawrence Don Giovanni, “Dalla sua pace” et “Mi tradì”, de son auditoire. La réaction maximale ne se américaine qui, telle West Side Story, préserve Traduction: Francis Marchal ne figuraient pas lors de la création originale à produit pas seulement si l’œuvre est un succès chacun des faits et gestes de la conception Prague. Madama Butterfly, le soir de la sur le plan artistique, mais également si elle est originale. A cet égard, les intentions d’origine Le “Ring” – En anglais? première, n’était pas l’opéra que nous en phase avec la conscience littéraire, du compositeur nous sont aujourd’hui Nous avons tous le sentiment, quelque part au connaissons aujourd’hui: Pinkerton ne politique, nationaliste et extra-esthétique de ce disponibles, avec l’avantage d’être fond de notre esprit, qu’une œuvre d’art jaillit réapparaissait pas au troisième acte. public à ce moment, et dans ce lieu. Le jeune authentiques. entièrement formée de l’âme de son créateur, En second lieu, vous vous rendez compte compositeur assemblait son œuvre pour Toutefois, figer la pièce dans un modèle fixe sentiment qui ignore de manière commode la que le compositeur écrit également son opéra convenir à son public; le compositeur reconnu peut créer des inconvénients. L’interprétation différence entre nature et art. L’acte de pour un théâtre spécifique, un ensemble choisissait la ville qui serait capable d’apprécier ne peut pas se développer, et les interprètes

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sont liés par le corset d’une routine fixe. La l’échec, mais une recréation, sans la dans les salons de beaucoup de mélomanes qui Il est vrai que la traduction de Porter est pièce ne peut pas évoluer avec le mouvement participation du compositeur, encourt un ne pourront jamais assister à une considérablement facilitée par le fait qu’il des goûts de la société, et si elle est reproduite échec plus grave ou un succès plus grand. Les représentation au théâtre. La Peter Moores existe beaucoup plus de mots d’une syllabe en de la même manière dans différents pays ou décors, la mise en scène, la traduction, Foundation est fière de donner à cette grande anglais qu’en allemand, et c’est là un avantage continents, sa pertinence pour ses nouveaux l’édition musicale à utiliser, peuvent être interprétation la possibilité d’être plus dont il a su tirer parti. Les Anglais possèdent publics risque d’être sérieusement compromise, réalisés sur mesure pour convenir au théâtre, largement appréciée. maintenant le Ring du vingtième siècle, tandis en particulier si la barrière linguistique aux artistes disponibles, et peut-être de que nous mâchons avec des dents de plus en s’interpose. manière plus importante, à la température plus émoussées la langue de Wagner, qui sonne La nouvelle œuvre est souvent reprise émotionnelle du public du moment et du lieu. de manière de plus en plus dissonante à nos quelques années plus tard, et le compositeur Souvent la traduction rend non seulement © 1975 Peter Moores oreilles avec les ans. C’est un fait curieux, mais doit la recréer. Orfeo, Idomeneo, Don Giovanni, l’œuvre compréhensible, et ainsi disponible et la traduction de Porter confère au livret de Fidelio, Simon Boccanegra, Ariadne auf Naxos, immédiate pour chacun de membre de …Et l’Alberich anglais peut maintenant faire Wagner une distinction limpide et nette Cardillac, Troilus and Cressida – et la liste l’auditoire en lui parlant dans sa propre des reproches justifiés à l’Alberich allemand particulièrement impressionnante. La s’allonge. Mozart aurait-il récrit Le nozze di langue, mais permet également de clarifier par ces paroles: “Combien, de manière possibilité de la goûter et de l’apprécier Figaro s’il avait recréé cet ouvrage pour le un texte qui se présente sous une forme datée obscure, tu me dis ce que je sais clairement”. simplement n’est que l’une des vertus de cet Londres de 1830? Bizet, s’il avait vécu plus ou obscure. Une critique sur ce sujet, extraite Une nouvelle traduction anglaise du Ring a été enregistrement… longtemps, n’aurait-il pas composé des du journal allemand Die Welt et reproduite spécialement réalisée pour la production de la Extrait de la rubrique “Discophilibus”, récitatifs pour Carmen quand l’œuvre fut ci-dessous en français, est éclairante sur les tétralogie donnée au Coliseum de Londres par “Alberich singt an der Themse” reprise à l’Opéra de Paris? problèmes posés aux allemands d’aujourd’hui Andrew Porter qui est maintenant le très (“Alberich chante sur les bords de la Tamise”), Quand un théâtre lyrique estime opportun par la langue littéraire tortueuse de respecté critique musical du périodique publiée dans Die Welt, 30 novembre 1974 de monter la production d’un opéra qui n’est Wagner. américain influent The New Yorker. Elle est pas encore à son répertoire, le directeur doit Le “Ring en anglais” au Coliseum est une particulièrement remarquable, car la tâche fut Traduction: Francis Marchal prendre la décision de reproduire ou de recréation. Son immense succès est dû au fait loin d’être simple. Grâce au talent de Porter, recréer, que le compositeur soit vivant ou que l’œuvre a été rendue accessible à beaucoup les caricaturistes sont aujourd’hui les seuls à ne Le “Ring” Goodall mort. Si l’opéra est représenté dans une langue d’auditeurs qui n’avaient pu apprécier ce grand voir dans Siegfried qu’une succession Les gens peuvent bien l’appeler “Le Ring que le public ne comprend pas, le choix est en chef-d’œuvre en reproduction. Le Ring n’est interminable de “Hoho! Hahei!” et de Goodall”, mais c’est le Ring de tout le monde, fait entre une reproduction dans la langue pas réservé aux seuls connaisseurs. Il est quelques “Heils” qui, assurément, sonnent de le “Ring” de l’English National. Le plus beau, originale ou une recréation au travers d’une maintenant à la portée de chacun, et le but de manière plus civile dès qu’ils sont transposés c’est qu’il s’agit d’un effort en commun. On traduction. Ces deux possibilités risquent cet enregistrement est de le rendre accessible en anglais par “Hails”. dit que je suis le seul homme à avoir dirigé le

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Ring en allemand et en anglais au cours de ces nous avons détruit plus que pendant tous temps en temps dans le Ring – c’est ainsi sagesse et mère des trois Nornes ou Destinées. cinquante dernières années. Quand il est les millénaires qui ont précédé. Nous sommes qu’il prend vie. Le dernier des quatre éléments, l’eau, est le chanté en allemand, le public, dont seuls en train d’empoisonner les océans; nous premier à apparaître dans l’opéra – le Rhin et quelques membres comprennent la langue, avons détruit la moitié des espèces animales. © Reginald Goodall ses trois sirènes. reste assis à attendre le grand moment; l’accent La nature est si subtilement équilibrée que Traduction: Francis Marchal est presque entièrement porté sur la musique nous dérangeons la pureté du monde. Disque Compact Un et non pas sur le texte. En anglais, je jouis du Nous ne pouvons pas nous en empêcher. Argument caractère immédiat de l’œuvre – vous le sentez C’est cela le péché originel, et c’est tout Au commencement, quand le monde était Scène 1 dans le public parce qu’il comprend. C’est une cela qui est dit dans le Ring: Adam et Eve enfant, la terre était peuplée par une race de Dans les profondeurs du Rhin sensation merveilleuse – elle compense les dans le Jardin, la mort de l’innocence du géants: des êtres simples, forts et travailleurs 1 Le prélude nous plonge d’emblée au plus lacunes possibles de la traduction par la monde, la destruction du système d’un contents de mener une vie simple. Leurs seuls profond du Rhin. L’obscurité est d’abord si réunion des mots et de la musique. Wagner monde. Le poème du Ring possède la force soucis étaient provoqués par des querelles avec dense que nous entendons et percevons, mais voulait que l’on comprenne le Ring. Le texte et l’éternité d’un mythe. C’est de cela qu’il la race des Nibelungen: des gnomes qui vivaient sans pouvoir encore voir, l’immensité de a été écrit en premier, et il a produit la est question, et c’est cela qui rend le Ring dans des cavernes sous terre, et qui étaient l’étendue et l’oscillation légère de la vague de musique. plus profond. contraints par leur chef Alberich, après les fond (huit cors jouant l’un après l’autre un Wagner commença par écrire le texte de la Oui, je suis un perfectionniste – pas pour événements de la Scène 1, de servir son arpège de mi bémol ascendant). Peu à peu, les Mort de Siegfried (“Siegfrieds Tod”), et il les détails, mais pour l’atmosphère et la ambition de dominer le monde. Cependant, ils sens prennent conscience des courants découvrit qu’il avait besoin d’expliquer ce qui signification. Je ne pense pas que ne parvinrent jamais à soumettre les géants, et supérieurs plus rapides, et des rochers escarpés l’y avait conduit, presque depuis le l’enregistrement de Die Walküre puisse être quant au contrôle suprême du monde, celui-ci qui se dressent sur le lit du fleuve, s’étendant commencement, le péché originel, ce sacrifice une interprétation parfaite, quoique je n’aie appartenait à la race des dieux, esprits de loin dans la distance. 2 On aperçoit l’une des de l’amour pour le pouvoir et l’avidité qui jamais été aussi content que je le fus avec lumière et d’air conduit par Wotan qui faisait trois Filles du Rhin, la sirène Woglinde, en retombe sur Siegfried, bien qu’il soit innocent Curphey et Remedios dans ce premier acte. Je valoir un ordre éclairé au-dessus de la terre. train de nager en chantant une chanson d’une certaine manière. Laissons la nature telle préfère les enregistrements pris sur le vif, parce Das Rheingold, le Prologue de ce drame intelligible seulement en partie tandis qu’elle qu’elle est. Le Rhin coule sans aucune raison. que j’ai le sentiment que le public contribue à épique, se situe pendant ces premiers temps de s’amuse autour du plus imposant des rochers. C’est juste la nature. Dieu ou la nature, l’interprétation – Siegfried et Das Rheingold la vie sur terre, et se joue entre ces trois races L’une de ses sœurs, Wellgunde, se joint à elle comme vous voudrez, dans sa sagesse cachait sont merveilleux: vous entendez seulement de la création. Proches des dieux sans être des dans un jeu de poursuite, et la troisième, l’atome, et nous l’avons découvert. Et quand quelques rires, qui, me semble-t-il, sont leurs sont Loge, l’esprit du feu et de la ruse Flosshilde, plonge en leur reprochant leur vous songez à ce que l’atome peut faire… appropriés; et j’aime cela dans que Wotan a apprivoisé et transformé en ami, garde insouciante de l’or qui dort au sommet Au cours des cinquante dernières années l’enregistrement: je pense qu’il faut rire de et Erda, la Mère de la Terre, source de toute du rocher. Mais elle aussi est entraînée dans le

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jeu. Tandis qu’elles se poursuivent l’une l’autre, scintillant, mais que forgé sous la forme d’un nous nous trouvons transportés sur le sommet Wotan n’a aucunement l’intention de tenir sa une ombre sinistre vient troubler la brume anneau, il donnerait à quiconque le porte le d’une haute montagne très au-dessus du promesse de donner Freia en échange du pâle qui règne au fond du fleuve. 3 Alberich pouvoir de dominer le monde entier. Rhin. Wotan et sa femme Fricka sont Walhalla, et il compte sur Loge, son peu fiable a grimpé le long de la fissure d’un rocher, et Flosshilde estime qu’elles ont trop parlé jusqu’à allongés et dorment d’un profond sommeil. conseiller qui lui a suggéré ce marché, pour écoute d’une oreille indiscrète le jeu innocent ce que Woglinde lui rappelle que l’or ne peut En se levant, l’aube révèle un énorme trouver un autre moyen de satisfaire les géants. des gracieuses nymphes des eaux. Il tente de être conquis que par celui qui serait prêt à château tout scintillant perché sur une 11 Freia, profondément inquiète, entre en fraterniser avec elles, mais sa laideur les renoncer à l’amour (“Seul celui qui renie le montagne dans le lointain. C’est le Walhalla, scène, et 12 est bientôt suivie par les deux repousse, et Flosshilde le soupçonne de pouvoir de l’amour”), ce que personne, encore le symbole du statut de Wotan (et la géants qui ont bâti le château et qui viennent s’attarder avec de mauvaises intentions. moins ce gnome qui languit d’amour, n’est ressemblance du leitmotiv du “Walhalla”, demander leur dû: Fasolt s’est entiché de la Cependant, ses invitations lubriques prêt à faire. Mais elles ont relâché leur garde pour les tubas Wagner, avec celui de beauté de Freia; son frère Fafner, plus cynique indiquent clairement qu’il ne représente aucun trop tôt. 7 Alberich, éconduit en amour et “l’anneau” entendu juste à l’instant, nous et méprisant, désire uniquement enlever aux danger pour leur or. 4 Ayant décidé de le infiniment avide de pouvoir, est tout à fait prêt rappelle qu’il est aussi un symbole de dieux le pouvoir de rajeunir que possède Freia, taquiner, elles le font, l’une après l’autre, à payer le prix pour obtenir l’or. Il a grimpé puissance, et que Wotan et Alberich ne car, sans elle, ils se flétrirons rapidement et grimper et descendre à toute vitesse les jusqu’à l’or avant que les Filles du Rhin s’en sont pas aussi différents qu’ils voudraient mourront, laissant ainsi le pouvoir aux géants. rochers à leur poursuite, mais seule la aperçoivent; 8 d’une voix terrible, il lance sa bien le penser). 13 Ils résistent au faible effort de Wotan de troisième, Flosshilde, le laisse s’approcher malédiction sur l’amour, s’empare de l’or et 9 Fricka s’éveille la première, aperçoit le leur faire nommer une autre forme de tout près d’elle avant de se sauver rapidement. disparaît dans les profondeurs. Son rire château nouvellement construit et réveille son paiement. 14 Froh et Donner, les frères de La passion d’Alberich est maintenant moqueur fait écho aux lamentations des Filles mari qui est enchanté par sa splendeur Freia, l’un d’une cordialité toute rayonnante, enflammée, et il les poursuit de manière du Rhin. (“L’œuvre éternelle est achevée”). Mais Fricka l’autre d’une dureté aggressive, arrivent encore plus furieuse tandis qu’elles s’élancent L’obscurité retombe, on entend le courant lui rappelle avec anxiété qu’il faut le payer, et juste à temps pour empêcher Freia d’être d’un rocher à l’autre en se moquant de ses des eaux qui continue; les cors anglais et que le prix, convenu avec les géants qui l’ont enlevée. Wotan interdit à Donner de menacer efforts. allemands reprennent la mélodie de la construit, est la possession de sa sœur Freia les géants par la force brutale (“Pas de 5 Soudain, une lumière éclatante malédiction lancée contre l’amour; les nuages (parfois appelée Holda), la déesse de la jeunesse violence!”). commence à briller en haut du rocher central; recouvrent la scène. éternelle et la gardienne des pommes sacrées, les rayons du soleil ont percé à travers les eaux source de jeunesse. Fricka est en colère parce Disque Compact Deux et illuminent l’or du Rhin; joyeusement, les Scène 2 que le prix a été convenu en son absence, mais Filles du Rhin louent le trésor dont elles ont la Sur le sommet découvert d’une montagne elle désire le château tout autant que Wotan, 1 – 2 Loge arrive enfin; il est allé vérifier la garde. 6 Alberich devient curieux, et apprend Quand les nuages se dissipent au son du 10 ne serait-ce que parce qu’elle espère qu’il le qualité du travail des bâtisseurs et 3 supporte qu’il ne s’agit pas d’un simple ornement leitmotiv de “l’anneau” joué par les cors, retiendra à la maison, loin des infidélités. mal les insultes lancées contre lui pour son

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apparition tardive (“Loge est toujours payé pouvoir d’agir. 11 Wotan décide, au grand rapidement informés par lui des conditions de nouveau à proximité des enclumes et se d’ingratitude!”). Il a également cherché partout soulagement de Fricka et des autres dieux, de travail qui règnent dans le Nibelheim et du faufilant par la crevasse. une autre forme de paiement. Mais personne, descendre avec Loge dans le Nibelheim et de pouvoir magique du Tarnhelm. semble-t-il, ne peut nommer quelque chose de s’emparer de l’or afin de pouvoir payer la Immédiatement, Loge promet d’aider les Scène 4 plus désirable qu’une femme belle et bonne – rançon exigée pour Freia. Ils se glissent dans ouvriers-gnomes, tandis 16 qu’Alberich Sur le sommet découvert d’une montagne 4 seul un homme, Alberich, fut prêt à une crevasse du rocher, et descendent à revient, conduisant une horde de Nibelungen 3 Wotan et Loge amènent Alberich, renoncer à l’amour en échange du pouvoir de l’intérieur de la montagne jusqu’aux cavernes lourdement chargés par les fruits de leur solidement ligoté, sur le sommet, et lui l’or du Rhin et de l’anneau tout-puissant forgé souterraines où on peut entendre les labeur. Voyant Wotan et Loge, il renvoie d’un déclarent que l’or est le prix de sa liberté. avec celui-ci. Loge raconte l’histoire du vol Nibelungen, les esclaves d’Alberich, en train de mouvement de l’anneau les ouvriers qui Il accepte rapidement car il sait que l’anneau d’Alberich comme s’il ne faisait que marteler sans interruption sur leurs enclumes retournent à leurs travaux en hurlant de peut reconstituer sa réserve et l’accroître à transmettre une simple plainte des Filles du (Wagner précise dans la partition qu’elles sont terreur. 17 Loge se lie d’amitié avec Alberich et l’infini. 4 Il utilise sa formule magique et les Rhin; 5 cependant, cela ne laisse pas au nombre de dix-huit). se présente comme le vieux et fidèle esprit du Nibelungen remontent le trésor de leur les géants indifférents – 6 ni les dieux, feu. 18 Alberich ne se calme pas vraiment et, caverne. 5 Quand il demande sa liberté, Loge bien sûr. Scène 3 par ailleurs, il reconnaît Wotan; 19 cependant, exige aussi le Tarnhelm, et Wotan l’anneau. 7 Chaque groupe conclut que cet or est Une caverne sous terre son illusion de puissance l’enhardit, et il se Horrifié, Alberich offre n’importe quoi d’autre, extrêmement désirable. Loge assure à Wotan 12 Tandis que les voyageurs sont sur le point met à venter ses réalisations, notamment le sa vie s’il le faut, mais comprend vite que cela qu’il est possible de l’obtenir sans renoncer à d’achever leur descente, on peut voir une vaste Tarnhelm. Loge fait semblant de ne pas le aussi lui enlèverait l’anneau. Wotan le lui l’amour: il suffit simplement de le voler – ce caverne dans laquelle Alberich a entraîné son croire, et défie Alberich de démontrer les arrache. Il est libéré 6 (“Suis-je donc libre n’est pas un crime, ajoute-t-il, si Wotan rend frère Mime pour obtenir de lui la plus récente pouvoirs du heaume magique. maintenant?”), et lance immédiatement une l’or au Rhin. 8 Fafner annonce que Freia pièce de sa production. Il s’agit du heaume malédiction mortelle sur quiconque possédera pourra rester avec les dieux si Wotan paye les magique, nommé Tarnhelm, qui donne à celui Disque Compact Trois l’anneau: tout le monde le convoitera, chaque géants avec l’or d’Alberich. Wotan proteste en qui le porte le pouvoir illimité de se rendre possesseur sera dans l’effroi de le perdre et se vain que cet or ne lui appartient pas; les deux invisible ou de se métamorphoser. Alberich 1 Alberich se transforme obligeamment en verra acculé à une mort affreuse jusqu’à ce géants prennent Freia en otage, et promettent l’arrache à son créateur, qui prétend qu’il n’est un dragon monstrueux puis, après une qu’il soit restitué à Alberich. Après cette de revenir le soir même et de la rendre si l’or pas encore au point, et 13 l’essaye nouvelle provocation, en un tout petit impressionnante imprécation, Alberich s’en va, leur est donné. 9 – 10 Dès qu’ils sont partis, immédiatement avec succès en se rendant crapaud. Wotan pose alors le pied sur le laissant derrière lui un leitmotiv terrifiant et il est visible que, sans Freia et ses pommes, les invisible et en frappant Mime pour lui avoir crapaud, tandis que Loge retire le Tarnhelm et maléfique. dieux se mettent à grisonner et à devenir menti. Mime pleurniche encore dans un coin ligote le gnome pris au piège. 2 Ils 7 Les autres dieux reviennent. Presque apathiques, et se trouvent dépourvus de tout quand 14 Wotan et Loge arrivent, et 15 sont l’emportent au sommet du rocher, passant de immédiatement, Fasolt et Fafner ramènent

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Freia et, 8 voyant l’or, déclarent que pour une (“Héda! Héda! Hédo!”). 16 Froh jette un remarquables chanteurs wagnériens de sa et des Etats-Unis, incluant plusieurs saisons à juste rétribution, il doit être empilé en hauteur arc-en-ciel, semblable à un pont, au-dessus de génération, son nom est particulièrement Bayreuth. Il a collaboré avec des chefs aussi et en largeur jusqu’à cacher entièrement Freia la vallée, et le château du Walhalla est de associé au rôle titre de Der fliegende Holländer importants que Sir Colin Davis, Sir Georg de leur vue. 9 Leur obstination avide n’est nouveau visible. 17 Wotan salue une fois et à celui de Hans Sachs dans Die Meistersinger Solti, James Levine, Carlo Maria Giulini, satisfaite que lorsque le Tarnhelm est ajouté à encore sa nouvelle forteresse (“Les rayons du von Nürnberg. Il a également chanté le Wolfgang Sawallisch, Claudio Abbado et l’or; 10 Fasolt parvient même à déceler une soir innondent le ciel”), et les dieux se Landgrave (Tannhäuser) à l’Opera North, Daniel Barenboim. Pour Chandos, Norman fente minuscule par laquelle il peut encore préparent à traverser le pont, mais Loge avoue Wotan/le Wanderer et Gunther à l’English Bailey a enregistré le rôle titre dans King Priam épier la vision rayonnante de Freia, et il exige avoir honte d’être associé à eux. 18 Tandis National Opera, où en sa qualité de membre de Sir Michael Tippett. l’anneau pour la boucher. Wotan refuse qu’ils s’avancent sur le pont, on entend les de la compagnie il a par ailleurs incarné les catégoriquement; il a désormais abandonné Filles du Rhin se lamenter de la perte de leur rôles de Pizarro (Leonore de Beethoven), le Le baryton Norman Welsby naquit à toute prétention de le restituer aux Filles du or. A cause de sa tromperie, Wotan ne peut Comte de Luna (Il trovatore), Alfio (Cavalleria Warrington dans le Lancashire, et fit ses études Rhin, et a fermement l’intention de le garder plus maintenant leur venir en aide, et d’un ton rusticana), Scarpia (Tosca), le Père (Hänsel und musicales au Royal Manchester College of pour lui seul. Les géants se préparent à repartir agacé il demande à Loge de faire cesser le Gretel ), le Prince Gremine (Eugène Onéguine), Music (rebaptisé par la suite Royal Northern avec Freia, et cette fois définitivement; 11 mais bavardage des sirènes. Les Filles du Rhin se Kutuzov (Guerre et Paix de Prokofiev), et le College of Music). Après deux saisons avec le une apparition de la Mère de la Terre (“Cède, lamentent encore tandis que les dieux Forestier (Le Petit Renard rusé). Au Royal Glyndebourne Festival Opera où il chanta Wotan, cède!”) avertit Wotan que l’anneau traversent le pont et entrent dans le Walhalla. Opera de Covent Garden, Norman Bailey s’est notamment le rôle titre de Falstaff, il entra au doit être abandonné puisque les dieux sont de Das Rheingold s’achève alors par un somptueux produit dans les rôles de Balstrode (Peter Sadler’s Wells Opera (rebaptisé par la suite toute façon condamnés à disparaître. postlude orchestral comportant six harpes. Grimes, également en tournée à Palerme), English National Opera), où il fit ses débuts 12 Wotan est convaincu; il jette Germont (La traviata), Ford (Falstaff ), dans le rôle de Masetto (Don Giovanni). Avec l’anneau sur le trésor, et accueille Freia. William Mann Wolfram (Tannhäuser), Kurwenal (Tristan und cette compagnie, il chanta de nombreux rôles 13 Immédiatement, les géants commencent à Traduction: Francis Marchal Isolde), Donner (Das Rheingold ), Wotan allant de Liberto dans L’incoronazione di Poppea se disputer sur le partage de l’or, et quand (Die Walküre), Klingsor et Amfortas (Parsifal ), à Pentheus dans la première anglaise de Fasolt, sur le conseil de Loge, tente de saisir Né en Afrique du Sud, la basse-baryton Jochanaan (Salome), et le Maître de musique The Bassarids de Hans Werner Henze, ainsi que l’anneau, Fafner brandit son pieu et le tue. Norman Bailey a fait ses études à Vienne, puis (Ariadne auf Naxos). Récemment, il a le rôle titre dans Le nozze di Figaro, le Récitant Ensuite, il finit tranquillement d’entasser la a passé les premières années de sa carrière à également chanté Oroveso (Norma), Banquo (Die Zauberflöte), Alfio (Cavalleria rusticana), rançon de Freia dans un sac qu’il met sur ses chanter en Autriche et en Allemagne. Il est (Macbeth), le Roi (Aida), le Docteur (Wozzeck) Silvio (Pagliacci), Escamillo (Carmen) et épaules, et s’en va. 14 – 15 L’air est encore ensuite revenu au Royaume-Uni où il s’est et Schigolch (Lulu). Sa carrière internationale Schlemil (Les Contes d’Hoffmann). Norman chargé d’un épais brouillard que Donner produit avec toutes les grandes compagnies l’a conduit à se produire sur les grandes scènes Welsby a également interprété de nombreux dissipe en provoquant une violente tempête d’opéra. Salué comme l’un des plus lyriques et dans les festivals de toute l’Europe rôles au Royal Opera de Covent Garden.

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Né à Athènes, le ténor Robert Ferguson fit ses de Covent Garden. S’étant établi en Angleterre, vingt-huit ans pour se consacrer au chant. Il active au concert, au disque et à la radio. Il a études au Royal Manchester College of Music Emile Belcourt commença alors une longue fut nommé basse principale au Royal Opera de reçu le titre commandeur de l’ordre de (rebaptisé par la suite Royal Northern College association avec le Sadler’s Wells Opera Covent Garden où il a chanté un immense l’empire britannique (CBE) en 1991. of Music) avec Frederick Cox. Il chanta le rôle (rebaptisé par la suite English National Opera) répertoire, et où il a été la première basse de Pinkerton (Madama Butterfly) et celui de où il chanta des rôles dans Orphée aux enfers, anglaise à incarner le rôle titre de Boris Après avoir fait ses études musicales à Sydney, Don Ottavio (Don Giovanni) avec le Yorkshire Barbe-Bleue, Patience, et fut célébré pour son Godounov dans la production du défunt Melbourne et Londres, la basse australienne Opera. Il fit ses débuts au Sadler’s Wells Opera interprétation magistrale de Loge dans Andrei Tarkovsky. Cette production, avec Clifford Grant a fait ses débuts avec la New (rebaptisé par la suite English National Opera) Das Rheingold. Outre sa participation à la Robert Lloyd dans le rôle de Boris, fut reprise South Wales Opera Company dans le rôle de avec Pinkerton, et y chanta des rôles tels que création anglaise de la version en trois actes de par la suite à l’Opéra Kirov de Leningrad où Raimondo (). Il est Nero (L’incoronazione di Poppea), Turiddu Lulu de Berg au Royal Opera de Covent elle fut télévisée et retransmise dans le monde ensuite entré au Sadler’s Wells Opera (plus (Cavalleria rusticana), Camille (Die lustige Garden, son répertoire s’étendit de Herod entier, puis à l’Opéra d’Etat de Vienne, où elle tard rebaptisé English National Opera) où il a Witwe) et Tikhon (Kát’a Kabanová). (Salome) jusqu’à Eisenstein (Die Fledermaus) et fut dirigée par Claudio Abbado. Robert Lloyd chanté Seneca (L’incoronazione di Poppea), le au Comte Danilo (Die lustige Witwe), ainsi que a également chanté ce rôle à Amsterdam et à Commandeur (Don Giovanni), Sarastro Né à Saskatchewan au Canada, Emile Belcourt le premier rôle dans Man of La Mancha dans le Florence. Outre ses récentes prestations à (Die Zauberflöte), Silva (Ernani), Padre commença par étudier le chant en qualité de West End de Londres. Emile Belcourt chanta Covent Garden (notamment dans Roméo et Guardiano (La forza del destino), Philippe II baryton léger à l’Académie de Musique de également avec le Welsh National Opera, le Juliette, Chérubin et Samson et Dalila), il s’est d’Espagne (Don Carlos), le Roi Henri Vienne, et devint membre des théâtres lyriques Châtelet théâtre musical, la Canadian Opera rendu au Teatro alla Scala de Milan (Der (Lohengrin), Pogner (Die Meistersinger von d’Ulm et de Bonn où il chanta des rôles tels Company, au San Francisco Opera, et au Seattle fliegende Holländer et Parsifal ), au Deutsche Nürnberg), Fafner, Hunding et Hagen que Don Giovanni, Guglielmo (Così fan tutte), Opera où il incarna le rôle de Tristan. Dans le Oper de Berlin (Tristan und Isolde), à l’Opéra (Der Ring des Nibelungen), ainsi que dans des Sharpless (Madama Butterfly), Escamillo domaine de l’opéra contemporain, il chanta des Pays-Bas (Pelléas et Mélisande), au Festival rôles importants dans Il barbiere di Siviglia, (Carmen) et le Docteur Falke (Die Fledermaus). dans The Violins of Saint-Jacques et Lucky-Peter’s de Salzbourg (Le nozze di Figaro, Don Rigoletto, Madama Butterfly, Manon, Oedipus Ayant décidé de devenir ténor, il vint à Paris Journey de Malcolm Williamson, A Penny for a Giovanni et Les Troyens), au Metropolitan Rex et Peter Grimes. Il s’est également produit pour y étudier avec Pierre Bernac et Germaine Song de Sir Richard Rodney Bennett, The Royal Opera de New York (Die Zauberflöte, Fidelio, au Royal Opera de Covent Garden, au Welsh Lubin. Après la retransmission radiophonique Hunt of the Sun de Iain Hamilton et Toussaint Rigoletto, Aida et Faust), au San Francisco National Opera, au Glyndebourne Festival d’une représentation de Pelléas et Mélisande de L’Ouverture de David Blake. Opera (L’incoronazione di Poppea et Don Opera, à l’Opéra de Marseille, à l’Opéra de Debussy donnée à Paris, il fut engagé à chanter Carlos) et au Lyric Opera de Chicago (Simon San Francisco, et à Sydney. Après s’être produit le rôle de Pelléas au Scottish Opera, puis celui Né dans l’Essex, Robert Lloyd étudia à Boccanegra). Robert Lloyd a chanté sous la dans Les Huguenots de Meyerbeer avec l’Opera de Gonzalve dans L’Heure espagnole de Ravel l’Université d’Oxford et abandonna une direction des plus grands chefs internationaux, Australia en 1990, Clifford Grant se retira de sous la direction de Georg Solti au Royal Opera carrière universitaire d’historien à l’âge de et poursuit une carrière exceptionellement l’opéra mais revint sur scène en 1993 pour

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chanter Alvise Badoero dans La Gioconda à Euridice de Haydn (dans le rôle de Creonte), également produit très souvent au Royal Rex), et Agave dans la création anglaise de l’Opera North. Il a collaboré avec des artistes La pietra del paragone de Rossini (dans le rôle Opera de Covent Garden, au Welsh National The Bassarids de Hans Werner Henze. Après aussi éminents que Dame Joan Sutherland, de Pacuvio), Guerre et Paix (dans le rôle de Opera et au Scottish Opera, et a chanté aux avoir fait ses débuts au Royal Opera de Covent Otto Klemperer, Sir Adrian Boult et Sir Colin Napoléon, avec l’English National Opera) et Festivals d’Edimbourg et d’Aldeburgh. Garden dans le rôle de Thea dans The Knot Davis. Der Besuch der alten Dame de Gottfried von A l’étranger, Gregory Dempsey s’est produit Garden de Sir Michael Tippett, elle y incarna Einem (dans le rôle du Maître d’école, à avec le San Francisco Opera, ainsi qu’à également Preziosilla (La forza del destino) et Le baryton anglais Derek Hammond-Stroud a Glyndebourne). Derek Hammond-Stroud a Bruxelles, Stuttgart et d’autres villes Kate Julian (dans Owen Wingrave de Britten). étudié avec Elena Gerhardt et Gerhard Hüsch créé le rôle du Vieux Pêcheur dans la première européennes. Vivant maintenant en Australie, Elle chanta le rôle de Baba the Turk à Munich et à Londres, et a consacré sa mondiale de The Violins of Saint-Jacques de il a fréquemment chanté à l’Australian Opera (The Rake’s Progress) au Festival de carrière au récital et à l’opéra. Il a chanté avec Malcolm Williamson au Sadler’s Wells (par la suite Opera Australia) et au Victoria Glyndebourne, Dalila (Samson et Dalila) à toutes les grandes compagnies d’opéra de Theatre. Il a reçu de nombreuses distinctions, State Opera. Il s’est également produit au l’English National Opera North (plus tard Grande-Bretagne, et s’est produit en Europe à notamment celle d’officier de l’ordre de Festival d’Adelaide (dans le rôle titre des rebaptisé Opera North), Brangäne (Tristan und l’Opéra d’Etat de Bavière, au Theater an der l’empire britannique (OBE) en 1987. Aventures de Monsieur Broucvek, et dans celui de Isolde) à Düsseldorf, la Princesse Marina Wien, au Theater am Gärtnerplatz, et a chanté Mark dans The Midsummer Marriage de (Boris Godounov) à Francfort et Preziosilla à pendant trois saisons à l’Opéra des Pays-Bas. Le ténor australien Gregory Dempsey, né à Tippett). l’Opéra de Paris. Katherine Pring fit ses débuts En Amérique du Nord et du Sud, il a chanté Melbourne, fit ses débuts dans le rôle de Don américains dans le rôle de Carmen à l’Opéra dans de nombreuses salles lyriques, Ottavio avec la Melbourne National Opera La mezzo-soprano Katherine Pring fit ses de San Diego où elle revint deux ans plus tard notamment au Teatro Colón de Buenos Aires, Company, puis devint membre de études au Royal College of Music de Londres pour y chanter celui de la Princesse Eboli. Elle au Metropolitan Opera de New York et à l’Elizabethan Trust Opera Company. Après sa et au Conservatoire de Genève. Elle fit ses s’est produite en récital et en concert sous la l’Opéra de San Diego. Parmi les rôles prestation dans le rôle de Jenik (La Fiancée débuts à l’opéra dans le rôle de Flora direction de chefs internationaux tels que importants qu’il a interprétés figurent le vendue) au Sadler’s Wells Opera (plus tard (La traviata) au Grand Théâtre de Genève. Claudio Abbado, Christoph von Dohnanyi et Dr Bartolo, Rigoletto, Fra Melitone (La forza rebaptisé English National Opera), il devint Devenue membre du Sadler’s Wells Opera Sir Charles Mackerras. del destino), Sharpless, Tonio (Pagliacci), ténor résident de cette compagnie. Parmi les (rebaptisé par la suite English National Papageno, Alberich, Bechmesser, Faninal (Der nombreux rôles qu’il a chantés figurent Opera), elle y chanta des rôles tels que celui La soprano canadienne Lois McDonall se fit Rosenkavalier), Krusvina (La Fiancée vendue) et Florestan, Max, Erik (Der fliegende Holländer), d’Ottavia (L’incoronazione di Poppea), une réputation spéciale grâce à la beauté Sir Robert Cecil (Gloriana), ainsi que de David (Die Meistersinger von Nürnberg), Dorabella (Così fan tutte), Azucena naturelle de sa voix et à une solide technique nombreux rôles dans des œuvres de Gilbert et Mime, Don José, Canio, Gregor (L’Affaire (Il trovatore), la Princesse Eboli (Don Carlos), qui lui permirent de chanter Mozart et Sullivan et d’Offenbach. Il a participé à Makropoulos), Skuratov (La Maison des morts), Suzuki (Madama Butterfly), le Prince Orlofsky Richard Strauss avec un égal raffinement plusieurs premières anglaises, incluant Orfeo ed Tom Rakewell et Essex (Gloriana). Il s’est (Die Fledermaus), Carmen, Jocasta (Oedipus stylistique. Elle fit ses débuts avec la Canadian

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Opera Company dans Il segreto di Susanna de Room. Peu après, elle entra au Sadler’s Wells Grimes sous la direction de Richard Hickox, Foundation. Valerie Masterson a reçu le titre Wolf-Ferrari. Au Städtische Bühnen de Opera (rebaptisé par la suite English National un enregistrement qui fut couronné par un de commandeur de l’ordre de l’empire Flensburg, elle chanta Constanze (Die Opera) où son répertoire compta des rôles Grammy Award. britannique (CBE) en 1989. Entführung aus dem Serail), Elsa (Lohengrin), dans L’incoronazione di Poppea, Le Comte Ory, Tosca et Arabella avant de se produire pour la Un ballo in maschera, Madama Butterfly et Née à Birkenhead, la soprano Valerie Shelagh Squires fit ses études à la Guildhall première fois au Sadler’s Wells Opera Arabella, ainsi que ceux de Dame Quickly Masterson fit ses études musicales à Londres et School of Music and Drama de Londres. Elle (rebaptisé par la suite English National Opera) (Falstaff ), Katisha (The Mikado), Mrs Sedley à Milan grâce à plusieurs bourses d’études. s’est produite entre autres à l’English National dans le rôle de Semele de Haendel. Elle y (Peter Grimes) et plusieurs autres dont le plus Après avoir chanté pendant une saison au Opera, au Festival de Glyndebourne, avec le chanta également Ilia (Idomeneo), la Comtesse célèbre fut Erda dans le cycle du Ring de Salzburger Landestheater, elle devint soprano Glyndebourne Touring Opera et au (Le nozze di Figaro), Donna Elvira et Donna Wagner. Anne Collins s’est souvent produite principale dans la D’Oyly Carte Opera Metropolitan Opera de New York. Elle a Anna, Fiordiligi, le rôle titre dans Euryanthe, au Royal Opera de Covent Garden, ainsi qu’au Company. Elle a chanté avec toutes les grandes également chanté au Festival international de Lucrezia Contarini (I due Foscari), Gilda, Welsh National Opera (Filipyevna dans Eugène compagnies d’opéra britanniques, incluant le Bergen, à Vienne et au Japon. Son vaste Violetta, Manon de Massenet, Rosalinde (Die Onéguine), à l’Opera North (la Nourrice dans Glyndebourne Festival Opera, tandis qu’à répertoire compte Ottavia (L’incoronazione di Fledermaus), la Maréchale (Der Rosenkavalier), Ariane et Barbe-Bleue et Auntie dans Peter l’étranger, elle s’est produite au Festival Poppea), Marcellina (Le nozze di Figaro), Jenny (dans The Mines of Sulphur de Grimes), et au Scottish Opera (dans Ines de d’Aix-en-Provence, à l’Opéra de Paris, et dans Ulrica (Un ballo in maschera), Magdalene Sir Richard Rodney Bennett), le rôle titre dans Castro de James MacMillan). Elle a chanté les théâtres lyriques de Toulouse, Nancy, (Die Meistersinger von Nürnberg), Herodias la création mondiale de Anna Karenina de Iain dans les festivals de Glyndebourne, Aldeburgh, Montpellier, Genève, Prague, Munich, Milan, (Salome), Annina (Der Rosenkavalier), Adelaide Hamilton, et celui de Freia dans le célèbre Wexford, Camden, et dans le cadre des BBC Barcelone, Dublin, Santiago, San Francisco, (Arabella), Martha (Faust), la Sorcière Ring dirigé par Reginald Goodall. Lois Promenade Concerts de Londres. Elle s’est Houston, Chicago et New York. Son vaste (Rusalka) et Filipyevna (Eugène Onéguine). McDonall chanta également au Royal Opera produite en concert, dans des festivals et des répertoire s’étend de L’incoronazione di Poppea de Covent Garden, au Welsh National Opera, théâtres lyriques à travers toute l’Europe, de Monteverdi à The Turn of the Screw de La contralto Helen Attfield fit ses études à la au Scottish Opera, à l’Opéra de Dublin, et notamment aux opéras de Lyon, Strasbourg, Britten. Valerie Masterson a également Royal Academy of Music de Londres où elle dans le cadre des BBC Promenade Concerts. Genève, Hambourg, à l’Opéra de Paris et au participé à la création mondiale de We Come to obtint de nombreux prix. Avec l’English Opera Parmi ses enregistrements, on citera Maria Châtelet théâtre musical, au Théâtre royal de the River de Henze, et à la première anglaise de Group, elle chanta dans la création mondiale Padilla de Donizetti pour Opera Rara. la Monnaie de Bruxelles et au Teatro alla Scala Le Roi se rend en France de Sallinen, deux de Death in Venice de Britten. Outre les divers de Milan. Aux Etats-Unis, elle s’est produite opéras donnés au Royal Opera de Covent rôles qu’elle incarna à l’English National La contralto Anne Collins étudia au Royal au Metropolitan Opera de New York entre Garden. Parmi ses nombreux enregistrements, Opera, elle interpréta également celui de College of Music de Londres, puis fit ses autres. Anne Collins a réalisé de nombreux on citera Giulio Cesare et La traviata pour Maddalena (Rigoletto) avec le Welsh National débuts londoniens avec un récital à la Purcell disques, parmi lesquels, pour Chandos, Peter Chandos en association avec la Peter Moores Opera. Elle se fit entendre avec la Handel

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Opera Society, et à l’étranger à l’Opéra de Moores Foundation, notons Maria Stuarda, Glyndebourne. Peu après, il devint membre du réinvité à diriger une production maintenant Bruxelles. Giulio Cesare, Il barbiere di Siviglia, Rigoletto Royal Opera de Covent Garden où pendant légendaire du cycle complet de Der Ring des (dans la mise en scène de Jonathan Miller), vingt-cinq ans il allait diriger un répertoire Nibelungen, montée entre 1970 et 1973, et la Salué autant par la critique que par le public, La traviata et Werther. allant de Verdi (Il trovatore) à Walton (Troilus première à être donnée en langue anglaise L’Orchestre de l’English National Opera, avec and Cressida). depuis plusieurs années. Il dirigea par la suite Barry Griffiths comme premier violon, s’est vu Le chef d’orchestre anglais Reginald Goodall Reginald Goodall n’eut que rarement la Das Rheingold et Die Walküre au Royal Opera décerner ces dernières années plusieurs prix naquit en 1901 et étudia la direction possibilité de diriger les opéras du compositeur de Covent Garden, Tristan und Isolde et Die prestigieux comme le Prix de la Royal d’orchestre avec Malcolm Sargent et Constant qu’il admirait le plus, Richard Wagner. Cette Walküre au Welsh National Opera, et Tristan Philharmonic Society et un Olivier Award pour Lambert au Royal College of Music de omission fut rectifiée en 1968, non pas par le und Isolde et Parsifal à l’English National sa contribution exceptionnelle au monde Londres. De 1929 à 1936, il fut organiste et Royal Opera de Covent Garden mais par le Opera. Reginald Goodall devint commandeur lyrique. L’Orchestre est au cœur de la vie chef de chœur à St Alban the Martyr, Holborn Sadler’s Wells Opera qui l’invita à diriger une de l’ordre de l’empire britannique (CBE) en artistique de la Compagnie et outre les (Londres), où il dirigea les premières anglaises nouvelle production de Die Meistersinger von 1975, et fut anobli en 1985. Il mourut en représentations lyriques au Coliseum à d’œuvres chorales de Bruckner, Stravinski et Nürnberg. Ce fut un tel succès qu’il fut 1990 à l’âge de quatre-vingt-huit ans. Londres, il se produit également en concert. Szymanowski, ainsi que des œuvres de De plus, de nombreux membres de l’Orchestre jeunesse de Britten. Pendant la fin des années participent au Projet Baylis mis sur pied par la trente, il fut l’assistant d’Albert Coates et de branche de la Compagnie chargée de Malcolm Sargent. Au début de la Seconde l’éducation ainsi qu’au développement de Guerre mondiale, il devint le chef du nouveaux opéra avec l’English National Opera Wessex Philharmonic Orchestra basé à Studio, comme The Silver Tassie de Mark- Bournemouth. Anthony Turnage dont la création mondiale En sa qualité de membre du Sadler’s Wells eut lieu en février 2000. L’Orchestre a Opera (plus tard rebaptisé English National participé à de nombreux enregistrements, Opera) Reginald Goodall dirigea en juin 1945 comme son enregistrement d’Otello de Verdi la première représentation de Peter Grimes au sous la baguette de Mark Elder qui doit Sadler’s Wells Theatre récemment réouvert. prochainement paraître chez Chandos grâce au L’année suivante, il partagea avec Ernest financement de la Peter Moores Foundation. Ansermet les premières représentations de Parmi ses autres enregistrements pour The Rape of Lucretia de Britten pendant la Chandos, en collaboration avec la Peter première saison d’après-guerre du Festival de

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Alberich and the Nibelungs, with the Rhinegold, Scene 3 Anthony Crickmay/Theatre Museum, V&A Museum, Anthony Crickmay/Theatre John Garner/English National Opera Archive Opera National Garner/English John

Fricka, Loge, Wotan (Raimund Herincx), Donner, Fafner, Froh, Fasolt and Freia, Scene 2

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della registrazione dal vivo di una vivono sotto terra, lo desidera per i suoi fini Richard Wagner: Das Rheingold rappresentazione. malvagi. Dall’Orfeo di Monteverdi a Die Zauberflöte di Mozart, dall’Hippolyte et Aricie di Rameau a Der Freischütz di Weber, la Prefazione di Lord Harewood collezionista più accanito riesce a distinguere giustapposizione di luce e d’ombra ha sempre L’obiettivo della English National Opera e, le registrazioni sui cilindri di Mapleson affascinato i compositori di opere. Wagner prima ancora, di Sadler’s Wells, è il teatro effettuate agli spettacoli della Metropolitan Lord Harewood riconobbe che ogni situazione non è mai musicale, non l’opera. Fino a un certo punto, Opera di New York, nel 1900 circa. Direttore generale definita nettamente in bianco e nero, ma ha per il nostro repertorio viene scelto in base a Ci raggiungono attraverso una grandinata English National Opera lo più tonalità grigie. Pertanto Wotan ricorre ad questo; fino a un certo punto, si tratta anche di scariche statiche, ma sono una prova Agosto 1975 un sotterfugio ed al furto e si descrive come un di una situazione che si è creata perché unica delle interpretazioni vocali di un’era amico inseparabile del nano, “Luce-Alberich” abbiamo l’abitudine di avvicinare l’opera al passata. Altri conoscono i dischi H.M.V., Traduzione: Emanuela Guastella mentre Alberich, il quale dopo tutto acquista pubblico, perché la proponiamo nella pubblicati e non, registrati al Covent l’oro del Reno osservando la condizione di lingua del pubblico, piuttosto che tenere Garden all’inizio delle incisioni elettriche, Un’introduzione a “Der Ring des rinunciare all’amore, assume un’aria di dignità quest’ultimo a rispettosa distanza, come nel 1926 e nel 1927: l’addio della Melba, Nibelungen” insieme a quella di malvagità. può accadere quando l’opera viene fruita in brani di Otello con Zenatello ed estratti da Wagner concepì l’idea di un dramma musicale Wagner lavorò sulle parole e sulla musica una lingua straniera, per quanto nota e Boris e Mefistofele con Chaliapine. Per molti sul soggetto del mito del Nibelungo nel 1848, per parecchi anni, cominciando con un compresa. Il nostro obiettivo è l’immediatezza di noi si tratta di documenti estremamente all’incirca all’epoca in cui aveva completato abbozzo in prosa della storia prima di iniziare di un’esperienza teatrale, piuttosto che il preziosi perché forniscono non solo l’ultima delle sue opere tradizionali, Lohengrin. il testo di quello che chiamò Siegfrieds Tod processo cerebrale derivato da un prova sensibile dello stile e del livello Si può essere interessati a Der Ring des (La morte di Siegfried). Durante il dicembre lungo studio. Entrambi sono ammirevoli, interpretativo di circa cinquant’anni fa, Nibelungen (L’anello del Nibelungo) a diversi 1856, tuttavia, fece sapere ad un amico che ma completamente diversi, come ma anche per la qualità di esecuzione “dal livelli: ad esempio come un racconto di fate, “i Nibelunghi cominciano ad annoiarmi”; ed è diversa la descrizione della sensazione di vivo”, assente dalle registrazioni in studio come un’allegoria politica o come un libretto in realtà l’estate successiva abbandonò il Ring e trovarsi sotto la pioggia dalla situazione effettuate allo stesso tempo. Quelle di filosofico. In sostanza tratta con l’eterna ricominciò a comporre soltanto nel 1869, effettiva. Chaliapine ne rappresentano un ottimo battaglia tra il bene e il male ed il contrasto tra dopo aver scritto Tristan und Isolde e Da anni gli acquirenti di dischi (e io ne esempio. l’amore del potere ed il potere dell’amore. Die Meistersinger von Nürnberg (I maestri possiedo molti) continuano a parlare dei Quindi esiste un elemento di coerenza tra Wotan, il capo degli dei, desidera il potere per cantori di Norimberga). Dal momento della meriti delle registrazioni effettuate dal vivo una compagnia lirica, che tenta di raggiungere scopi che infine sono ben intenzionati; concezione al completamento questo progetto rispetto a quelle svolte in studio. Il l’immediatezza del teatro musicale, e la “realtà” Alberich, il capo dei Nibelunghi, nani che gigantesco lo occupò per ventisei anni, che

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furono anni di scompiglio sia nella sua vita esilio a Zurigo, che si occupavano tra l’altro Der junge Siegfried fu infine intitolato iniziò a comporre la musica dal personale che sulla scena politica europea. della connessione reciproca tra suoni verbali e e Siegfrieds Tod diventò Götterdämmerung, dopo principio: cominciò pertanto Das Rheingold Non era stata solo la noia, come disse, che lo musicali e la necessità di poter udire parole aver apportato notevoli tagli e modifiche, tra nel 1853, un anno dopo aver completato il aveva indotto ad abbandonare il giovane cantate, la cui conseguenza logica era che queste ultime alla fine quando gli dei periscono libretto, mentre nel caso della Siegfried sotto il tiglio, dove “gli aveva fatto gli complessi e cori non erano più adatti. nel loro castello, il Walhalla. Dando atto Götterdämmerung, cominciato nel 1869, stava addii con lacrime sincere”. Dopo aver Negli sviluppi successivi, Wagner non si all’influenza delle tragedie di Oresteia e di adattando parole scritte (anche se corrette abbandonato Dresda per evitare l’arresto per la attenne sempre alle proprie regole: in Prometeo di Eschilo, Wagner descrisse il Ring successivamente) venti anni prima. sua complicità nella rivoluzione del 1848, Die Meistersinger si trova un quintetto come una trilogia (considerando Das Rheingold Naturalmente il suo stile musicale si stava viveva in esilio a Zurigo con scarse prospettive completo, insieme a cori a profusione, ed un come un preambolo). sviluppando durante tale periodo, e la di poter vedere il suo Ring rappresentato; ed il coro ed un trio nel secondo atto della Nel 1854 Wagner venne a conoscenza degli partitura dell’ultima opera è assai più suo stile di composizione stava cambiando in Götterdämmerung (Crepuscolo degli dei). scritti del filosofo Arthur Schopenhauer – “un ingegnosa e complessa di quella che la precede. modo così radicale che si può dire gli fu L’opera che dà inizio al ciclo del Ring, Das brontolone della massima misura”, come l’aveva Eppure le quattro opere, nonostante la loro necessario affinarlo lavorando su Tristan. Si può Rheingold (L’oro del Reno), presenta un buon descritto Bertie Wooster di P.G. Wodehouse. Il diversità, rappresentano un tutto coerente a dire che fu quasi miracoloso il fatto che esempio delle teorie di Wagner messe in pratica, finale riveduto della storia del Ring era già stato motivo di un espediente di connessione che continuò poi con il completamento del Ring, ma fu necessario successivamente tanto lavoro scritto, ma Wagner continuò a scrivere passa sotto il nome di leitmotiv (dal tedesco fino alla sua rappresentazione, grazie ai suoi prima che Wagner potesse cominciare con la successivamente parecchi finali diversi, mentre leitmotiv, tema melodico ricorrente). sforzi, in un teatro costruito unicamente a tale musica. Da principio egli aveva in preparazione era allo stesso tempo occupato nella Reminiscenze musicali in opere non scopo. una sola opera, che sarebbe terminata con una composizione del ciclo, incluso uno che rappresentavano certo una novità. Un esempio Le sue sorgenti inclusero cinque epopee, in nota di ottimismo e la superiorità morale e rispecchiava la visione pessimistica di ben noto è costituito dalla piccola frase islandese, in tedesco medio alto e norvegese fisica degli dei ben stabilita. L’osservazione da Schopenhauer che la vita rappresenta sull’oboe che ci dice, nel secondo atto del antico, che risalgono tutte al tredicesimo secolo. parte di uno dei suoi amici che la storia semplicemente la negazione della morte. Qui, Fidelio di Beethoven, che Florestan Analogamente a tutte le sue opere, prima e richiedeva una conoscenza inusitata degli Brünnhilde raggiunge uno stato di addormentato sta sognando di sua moglie dopo il Ring, Wagner scrisse il proprio libretto. antefatti da parte degli spettatori lo convinse illuminazione buddista riuscendo ad arrivare della quale stava poco prima cantando. Ma allarmando i suoi amici, a cominciare con per prima cosa ad ampliare Siegfrieds Tod e poi alla “fine benedetta di ogni cosa eterna”. Questa Wagner riuscì a creare una rete di leitmotiv, Siegfrieds Tod riportò in vita un vecchio ad aggiungere quello che oggi possiamo non fu la versione che Wagner traspose in rappresentati da frasi brevi e ricche di espediente poetico chiamato “Stabreim” che chiamare un “antefatto”, Der junge Siegfried (Il musica, ma rimane indicativa del suo stato significato, associate a persone, oggetti, utilizzava allitterazioni esplosive invece di giovane Siegfried). Riconoscendo la necessità di d’animo al momento in qui stava componendo sentimenti e tanto altro, che ricorrono scansione e rima. Questo faceva parte delle sue ampliare più indietro nel tempo, scrisse i testi la fine della Walküre e l’inizio di Siegfried. nella musica vocale e specialmente teorie, esposte in saggi scritti durante il suo della Walküre (La Valchiria) e Das Rheingold. Dopo aver scritto i testi in ordine inverso, nell’orchestra. Essi sono assai più che i

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semplici “biglietti da visita” derisi da Debussy esprime una situazione o dà punto ad una produzioni di Das Rheingold e della Walküre, sua amante solo nel 1864, dopo aver sposato il (il quale peraltro non era alieno ad impiegare frase vocale. Una delle tonalità più malgrado la resistenza del compositore. direttore d’orchestra Hans von Bülow e avergli tale espediente lui stesso in Pelléas et caratteristiche del Ring è offerta da quelle che Wagner era tuttora deciso all’esecuzione dato due figlie. La gestazione dell’opera fu Mélisande). Sono rappresentate da ripetizioni sono chiamate le tube di Wagner (suonate da del Ring al completo nel proprio teatro, in invece più breve. La prima stesura fu pure e semplici, da modifiche melodiche o membri della sezione composta da otto corni) condizioni di festival. Nel 1871 scelse la completata in meno di undici settimane e la armoniche, e da combinazioni con altri motivi che intonano davvero il motivo del “Walhalla” cittadina provinciale di Bayreuth. La bella copia della partitura completa era pronta particolarmente verso la fine del ciclo, le quali nella seconda scena di Das Rheingold. costruzione del nuovo teatro fu finanziata nel settembre del 1854, quando il compositore tutte servono a creare un arazzo strettamente A partire dal 1862 Wagner non era più al mediante una sottoscrizione pubblica, con un si trovava già a metà della prima stesura della intessuto. bando dagli stati tedeschi. Durante l’anno intervento da parte di Ludwig ad un momento Walküre. Sono stati scritti volumi interi per dare un seguente pubblicò un’edizione del testo del Ring critico. Wagner completò Götterdämmerung A differenza delle successive opere della nome ai vari motivi, ma più si cerca di definire con una prefazione in cui espresse la speranza nel 1874 e Der Ring des Nibelungen fu tetralogia, ognuna delle quali è suddivisa in tre in modo preciso quelli più astratti, più difficile che un principe tedesco fosse disposto a rappresentato per la prima volta nella sua atti, Das Rheingold si svolge per un arco da afferrare si rende una definizione. Chi procurare il denaro necessario per rappresentare interezza nell’agosto 1876. Entro il 1889 erano ininterrotto di circa due ore e tre quarti. Le ascolta per la prima volta non se ne deve il ciclo (tuttora incompleto) in un teatro state rappresentate produzioni in tutto il quattro scene sono separate da grandi interludi preoccupare, in quanto comincerà a costruito appositamente. La sua richiesta mondo operistico; esse rappresentano tuttora il orchestrali che esemplificano brillantemente la riconoscere i vari motivi tematici dopo alcuni ricevette presto una risposta favorevole. Il modello a cui si riferiscono tutti i teatri concezione wagneriana della composizione ascolti. Non tutte le connessioni sono tuttavia diciottenne principe ereditario della Baviera dell’opera che aspirano all’eccellenza. come “arte della transizione”. Dopo che ovvie: vale la pena notare, solo per dare un ereditò il trono nel 1864 diventando Re Alberich ha sottratto l’oro alle sue custodi, le esempio, i profili simili dei motivi del Ludwig II. Egli aiutò Wagner a ripagare i © 2000 Richard Lawrence Figlie del Reno, per esempio, il feroce suono “Walhalla” e dell’“anello” (rispettivamente propri debiti, lo sistemò in una casa a Monaco Traduzione: ASA Products del leitmotiv dell’anello, ancorato da una nota nobili e funesti), che confermano o, meglio di Baviera, gli diede denaro in contanti ed uno grave sulla dominante in do minore, viene ancora, anticipano la nostra impressione che stipendio annuale, e lo incoraggiò a continuare Das Rheingold addolcito successivamente dai legni, dalle viole Wotan ed Alberich rappresentano il dritto e il con il suo grande lavoro. L’autunno del 1853, ripensandoci, fu un e dai corni prima di essere trasformato nel rovescio della stessa medaglia. A dir poco, i loro rapporti passarono tra alti periodo molto importante per Wagner. Aveva maestoso tema del Walhalla sugli ottoni. Un L’orchestrazione è una delle delizie di e bassi, ma fu grazie a Ludwig che Tristan e iniziato a comporre la musica del Rheingold e passaggio più ampio con una nota grave segue particolare rilievo del Ring. Wagner impiega Die Meistersinger ebbero le loro prime aveva conosciuto Cosima, la figlia di Franz la seconda scena e introduce il martellare dei forze enormi, ma assai di frequente un solo rappresentazioni al teatro di corte, dove Liszt, che sarebbe divenuta la madre dei suoi fabbri di Alberich su diciotto incudini. strumento a fiato di legno (un oboe, per furono anche riesumate opere precedenti di figli e, infine, sua seconda moglie. Cosima L’accordo del Nibelheim, nella relativa minore, esempio, o un clarinetto in fa) è quello che Wagner. Furono anche messe in scena aveva appena quindici anni e sarebbe divenuta si bemolle, completa quello maggiore, in

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re bemolle, del Walhalla, in un altro esempio suddiviso in due segmenti, arriva quando le talmente ambito che all’interprete di Mime in essere. Annunciata da una frase delicatamente del collegamento tra Alberich e Wotan. salutano l’oro: sia la fanfara Siegfried spesso è assegnato anche il ruolo di ascendente ricavata dal preludio, sollecita Il passaggio con nota grave per eccellenza, “Heiajaheia!” e la figura in due note “Oro del Loge, e questo richiede – ma non qui, per Wotan a consegnare l’anello ai giganti. Poi però, si sente proprio all’inizio del preludio, Reno! Oro del Reno!”, con le sue modifiche fortuna – l’uso di un cantante diverso per il predice la caduta degli dei. Il passaggio dove i contrabbassi sostengono un mi bemolle melodiche e armoniche, assumono nuove Mime del Rheingold.) Loge è solo un semidio, cruciale è “Tutto quel che è, finisce! Un giorno basso per ben 136 misure. Ad essi si sfumature di significato durante lo a cui sono negate le mele della vita eterna di oscuro rompe agli dèi”, dove la frase aggiungono i fagotti una quinta sopra; quindi svolgimento dell’epica narrazione. Freia, e di lui gli altri non si fidano: come dice ascendente si incontra con il suo contrario, un corno si introduce delicatamente con un Wagner considerava le Figlie del Reno una Wotan, “Di tutti gli dèi tuo unico amico”. Noi una frase discendente dei violini e delle viole arpeggio ascendente, seguito da un altro e un sola unità, nonostante avesse attribuito nomi non sappiamo mai cosa pensa veramente Loge. che può facilmente sfuggire. La scena, per altro ancora, finché gli otto corni echeggiano e diversi a ciascuna di esse, così di tanto in Diverse volte propone di restituire l’oro alle quanto carica di presagi di sventura, è un raro riecheggiano questa frase fondamentale. tanto, come qui, esse cantano in armonia. Ondine, ma davanti a Fricka ne difende il momento di pausa tra le schermaglie degli dei Wagner cerca di evocare l’origine del mondo, Altrove, invece, il compositore segue le proprie possesso perché può essere un mezzo per e dei giganti e il primo risultato della un’assenza virtuale di tempo e movimento, regole al punto che nessun personaggio impedire le scappatelle extraconiugali di maledizione scagliata da Alberich sull’anello, il utilizzando gli stessi mezzi di Beethoven pronuncia una parola mentre l’altro canta. Wotan, e si prende gioco volentieri delle Figlie brutale assassinio di Fasolt per mano del all’inizio della Nona sinfonia. Gradualmente Anzi, come suggerito nell’Introduzione di cui del Reno che piangono la sua perdita. Si fratello Fafner. l’arpeggio si trasforma in una corsa di sopra, Das Rheingold è il locus classicus vergogna di essere associato con gli dei, ma si Le nubi che si sono radunate semicrome che rappresentano il Reno. Wagner dell’idealismo wagneriano. Non ci sono unisce a loro nella grandiosa processione alla simbolicamente vengono disperse dal martello non avrebbe avuto difficoltà ad ammettere esecuzioni d’insieme, e l’accompagnamento volta del Walhalla. Wagner lo caratterizza con di Donner e Froh crea un ponte d’arcobaleno. l’influenza di Beethoven, ma forse avrebbe musicale consiste praticamente in una nota per guizzanti motivi come si addice a un dio del Wotan si scrolla di dosso la tristezza davanti obiettato se qualcuno gli avesse indicato sillaba, senza effusioni liriche o retoriche. La fuoco ed, espressivamente, con una frase che alla piega che hanno preso gli eventi e gli dei l’analogia con l’ouverture a Die schöne cosa che si avvicina di più a un’aria è la grande contiene allo stesso tempo il motivo di due entrano nel nuovo castello. Per questa scena Melusine di Mendelssohn, sebbene ammirasse narrazione di Loge nella seconda scena, che note “Oro del Reno! Oro del Reno!” e la sua Wagner richiede sette arpe: sei nell’orchestra e sufficientemente la musica di Mendelssohn da potrebbe essere utilizzata – e lo è stata – come modifica cromatica. una per accompagnare le Ondine che sono eseguirla durante la sua attività di direttore brano da concerto. Loge non ricompare, anche se lo fa la sua fuori scena. Il cromatismo del loro lamento è, d’orchestra. Se Wotan è fondamentalmente buono, con musica, e in Götterdämmerung la Terza Norna per così dire, l’unica nota negativa, ma Com’è prevedibile in un’opera che vuole un lato oscuro, e Alberich fondamentalmente parla alle sorelle della sua prossima fine. Erda, l’impressione costante del pubblico è di essere lo sfondo del dramma successivo, molti malvagio, ma almeno con il senso del bene e invece, torna in scena in Siegfried, sconcertata singolare splendore. Quanto sia illusorio tale leitmotiv del Ring (ma non tutti) sono presenti del male, Loge è sempre ambiguo. (Il ruolo, dalle notizie portate dal Viandante Wotan. Nel splendore lo riveleranno le vicende successive nel Rheingold. Uno dei più significativi, che è meglio se interpretato da un Heldentenor, è Rheingold è onnisciente come dichiara di di questo splendido dramma.

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Das Rheingold fu rappresentato per la prima questo sviluppo prosegue anche dopo la prima teatro, sapeva che il successo della sua opera e questo sistema oggi è rappresentato da musical volta a Monaco nel settembre del 1869. La rappresentazione, tra una rappresentazione quello suo personale dipendevano dalle americani come West Side Story, che conserva prima rappresentazione nell’ambito del ciclo iniziale e l’altra, oppure nei revival successivi. reazioni del pubblico. La migliore reazione si ogni gesto della concezione originale. In completo del Ring sarebbe venuta al festival di Due delle arie di maggior successo del Don ottiene non solo se l’opera è un successo dal questo modo, le intenzioni originali del Bayreuth nell’agosto del 1876. Giovanni, “Dalla sua pace” e “Mi tradì”, non punto di vista artistico, ma anche se è in linea compositore rimangono disponibili a noi oggi, erano presenti nella rappresentazione originale con la consapevolezza letteraria, politica, con il vantaggio dell’autenticità. © 2001 Richard Lawrence di Praga. Alla sua prima rappresentazione, nazionalistica e non esclusivamente estetica di Congelare l’opera in uno stampo fisso, però, Traduzione: Emanuela Guastella Madama Butterfly non era l’opera che un particolare pubblico, in un particolare può creare degli svantaggi. Le rappresentazioni conosciamo oggi: Pinkerton non ricompariva momento e in un particolare luogo. Il non si sviluppano e gli interpreti vengono Il “Ring” – in inglese?1 nel terzo atto. compositore giovane adattava la sua opera al immobilizzati in un corsetto di routine fisse. Il Tutti noi, in fondo, pensiamo che un’opera In secondo luogo, ci si rende conto che il proprio pubblico, quello affermato selezionava brano non cambia con l’evoluzione dei gusti d’arte scaturisca completa dall’anima del compositore crea la sua opera anche per un la città che avrebbe apprezzato un’opera nuova. sociali e, se viene riprodotto nello stesso modo proprio creatore, e questa sensazione ci particolare teatro, un particolare organico di Non si trattava solo di differenze locali: in un paese o continente diverso, il suo consente di sorvolare comodamente sulle musicisti e cantanti e un particolare pubblico. Mozart addirittura utilizzò due diverse lingue, significato per il nuovo pubblico può essere differenze tra natura e arte. Il processo creativo La corrispondenza tra Mozart e il padre dal punto di vista musicale e verbale, per il gravemente indebolito, specialmente se sono è lungo e dettagliato; partendo da un abbozzo descrive non solo le concessioni che il suo pubblico imperiale in Così fan tutte e presenti delle barriere linguistiche. iniziale l’opera viene modificata e perfezionata compositore fu costretto a fare per ovviare alle per il pubblico popolare della stessa città in Un’opera nuova spesso viene riproposta più volte. Per lo più il creatore modella la pecche tecniche di un particolare interprete, Die Zauberflöte. Le opere parigine di Gluck, alcuni anni dopo e il compositore fornisce una propria opera d’arte per il suo pubblico ma anche gli effetti che era in grado di Rossini, Donizetti e Verdi furono composte su nuova creazione. Orfeo, Idomeneo, Don particolare. Chiaramente, il compositore che ottenere sfruttando i vantaggi delle forze a sua libretti francesi e nel rispetto del gusto Giovanni, Fidelio, Simon Boccanegra, Ariadne coinvolge il proprio pubblico crea una reazione disposizione. Rossini compose molti ruoli di parigino. auf Naxos, Cardillac, Troilus and Cressida – emotiva più forte che può essere cumulativa. coloratura per mezzosoprano per la sua Cosa succedeva all’opera quando l’elenco non si esaurisce qui. Chissà, forse Leggendo i diversi carteggi epistolari sulla amante, Isabella Colbran. Persino la censura raggiungeva il teatro? La prima si svolgeva Mozart avrebbe riscritto Le nozze di Figaro se creazione di un capolavoro operistico, spesso rappresentò una forza formativa e il sotto la supervisione del compositore e, una l’avesse proposta a Londra nel 1830. E Bizet, emergono subito con chiarezza due cose. termine formativa qui viene utilizzato volta stabilita la struttura musicale, se fosse vissuto così a lungo, non avrebbe Primo, il compositore sollecita il librettista a intenzionalmente. Un ballo in maschera deve la quest’allestimento diventava la matrice di tutte composto recitativi cantati per Carmen raggiungere un determinato obiettivo, mentre sua forma finale ad una battaglia tra Verdi e la le rappresentazioni successive. Analogamente, quando fu presentata all’Opéra? egli stesso costantemente modifica il suo censura. Però la forza esterna più importante la D’Oyly Carte Opera Company ripropone Quando un teatro lirico ritiene opportuno abbozzo per realizzare il proprio fine. Spesso forse fu il pubblico. Il compositore, uomo di gli allestimenti originali; l’esempio migliore di allestire una determinata opera che non è

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ancora inclusa nel suo repertorio, il regista deve accessibile a molti che non avevano potuto successione infinita di “Hoho! Hahei!” e di Il “Ring” di Goodall scegliere tra la riproduzione e la nuova apprezzare questo grande capolavoro attraverso qualche “Heil”, che, chiaramente, appare molto Molti l’hanno chiamato il “Ring di Goodall”, creazione, indipendentemente dal fatto che il la riproduzione. Il Ring non si rivolge solo agli più educato se trasformato nell’inglese “Hail”. ma questo Ring appartiene a tutti, è il Ring compositore sia ancora in vita. Se l’opera è in addetti ai lavori. Oggi è disponibile a tutti; La traduzione di Porter è stata molto nazionale inglese. La cosa più bella sta nel una lingua incomprensibile al pubblico, la l’obiettivo di questa registrazione è di renderlo agevolata dal fatto che in inglese esistono fatto che si tratta di uno sforzo congiunto. Si scelta sta tra la riproduzione nella lingua disponibile a coloro che non potranno mai molte più parole monosillabiche rispetto al dice che negli ultimi cinquant’anni io sia stato originale o la nuova creazione in traduzione. In partecipare alle rappresentazioni teatrali. La tedesco, un vantaggio che il traduttore è l’unico a dirigere il Ring in tedesco e in entrambi i casi si rischia l’insuccesso, ma una Peter Moores Foundation è orgogliosa di riuscito a sfruttare egregiamente. Gli Inglesi inglese. Quando viene eseguito in tedesco, il nuova creazione senza il compositore può offrire a questa grande interpretazione una oggi hanno un Ring per il ventesimo secolo, pubblico, che per la maggior parte non trasformarsi in un fiasco più disastroso o in un possibilità di essere apprezzata in maniera più mentre noi, con denti sempre più deboli, conosce la lingua, rimane ad aspettare il successo maggiore. L’ambientazione, completa. siamo ancora costretti a masticare la lingua di momento clou, e l’accento si sposta quasi l’allestimento, la traduzione, l’edizione musicale Wagner, che sembra sempre più stridente per interamente sulla musica, anziché sul testo. da utilizzare possono essere adattati al teatro, noi con il passare del tempo. È strano, ma la Quando è eseguito in inglese, assume per me agli artisti disponibili e forse, soprattutto, alla traduzione di Porter conferisce al libretto un’immediatezza particolare, che si percepisce temperatura emotiva del pubblico in un © 1975 Peter Moores wagneriano una caratteristica di limpida nel pubblico, perché capisce. È una sensazione momento e un luogo particolare. Spesso la nitidezza, straordinariamente notevole. Già la meravigliosa e compensa eventuali scollature traduzione riesce non solo a rendere …E l’Alberich inglese oggi può rimproverare sola possibilità di provarla e apprezzarla è una tra le parole e il tono causate da qualche pecca comprensibile e quindi disponibile e giustamente l’Alberich tedesco con le parole, delle virtù di questa registrazione… nella traduzione. Wagner desiderava che il immediata un’opera a ciascuno spettatore, “Com’è oscuro il tuo modo di dirmi delle cose Estratto da “Alberich singt an der Themse” Ring venisse compreso. Il testo fu composto parlandogli nella propria lingua, ma anche a che conosco così chiaramente”. Andrew Porter, (Alberich canta lungo il Tamigi) da per primo e la musica venne dopo. chiarire un testo che esiste in forma antiquata oggi prestigioso critico dell’influente periodico “Discophilibus” in Die Welt, 30 novembre 1974 Quando Wagner iniziò a scrivere il testo oppure oscura. A questo proposito, la americano The New Yorker, ha preparato una della Morte di Siegfried (“Siegfrieds Tod”), si recensione del quotidiano tedesco Die Welt, che nuova traduzione in inglese del Ring per 1Le riflessioni di P. Moores sono rivolte ovviamente rese conto che era necessario spiegare viene riportata di seguito, serve a far luce sui l’allestimento della tetralogia presso il Coliseum ai lettori di lingua inglese e una traduzione non può l’antefatto risalendo fin quasi all’inizio, al problemi del tedesco moderno nei confronti di Londra. La traduzione è straordinariamente che rispecchiarlo, ma gli assunti generali possono peccato originale: la rinuncia all’amore a favore delle circonvoluzioni verbali di Wagner. riuscita – e bisogna considerare che non si essere validi per gli appassionati di musica di ogni del potere e dell’avidità che si ritorce su Il Ring allestito in inglese al Coliseum è una trattava di un’impresa semplice. Grazie nazionalità. [N.d.T.] Siegfried, sebbene egli sia in certo modo nuova creazione. Il suo straordinario successo all’abilità di Porter, oggi solo i caricaturisti innocente. La natura va lasciata com’è. Il Reno si spiega con il fatto che l’opera è stata resa possono descrivere Siegfried come una Traduzione: Emanuela Guastella continua a scorrere senza motivo. È solo

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natura. Nella sua saggezza, Dio o la natura, a sentire l’eco di una risata che, secondo me, è Madre Terra, fonte di ogni saggezza e madre Mentre si inseguono, un’ombra sinistra seconda delle convinzioni personali, ha deciso appropriato. Mi piace che sia presente nella delle tre Norne o Fati. L’ultimo dei quattro disturba la pallida foschia del letto del fiume. di nascondere l’atomo, ma noi l’abbiamo registrazione. Secondo me bisogna ridere elementi, l’acqua, è il primo a comparire in 3 Alberich si è arrampicato attraverso la scoperto. E basti pensare a cosa è capace di qualche volta ascoltando il Ring – questo lo quest’opera: si tratta del Reno e le sue tre fenditura di una roccia e ascolta, non visto, fare l’atomo… Abbiamo scatenato più rende vivo. fanciulle. l’innocente gioco delle belle ninfe. Tenta di distruzione noi negli ultimi cinquant’anni che fraternizzare con loro, ma le fanciulle nei millenni precedenti. Stiamo avvelenando © Reginald Goodall Primo Compact Disc rimangono inorridite dalla sua bruttezza e gli oceani, abbiamo distrutto la metà delle Traduzione: Emanuela Guastella Flosshilde sospetta che abbia delle mire poco razze animali. L’equilibrio della natura è Scena 1 pulite. Ma dai suoi inviti lascivi è chiaro che talmente delicato che noi turbiamo la purezza Argomento Il fondo del Reno non rappresenta una minaccia per l’oro. del mondo. Non possiamo farne a meno. In principio la terra era popolata da una razza 1 Il preludio ci immerge immediatamente in 4 Le Ondine decidono di prenderlo in giro e, Questo è il peccato originale ed è questo il di giganti: gente semplice, forte, lavoratrice, fondo al Reno. L’oscurità inizialmente è così una dopo l’altra, si fanno inseguire da una significato del Ring; Adamo ed Eva nel contenta di vivere con semplicità. Gli unici intensa che riusciamo ad udire e percepire, ma roccia all’altra; la terza, Flosshilde, gli permette paradiso terrestre, la morte dell’innocenza del problemi erano provocati dagli scontri con i non riusciamo ancora a vedere, la sua enorme di avvicinarla e poi fugge rapidamente. mondo, la distruzione di un sistema mondiale. Nibelunghi, una razza di nani che vivevano in vastità e il delicato fruscio della risacca (otto Sentendosi provocato, Alberich si accanisce a Il poema del Ring ha la potenza e l’eternità del caverne sotterranee ed erano obbligati dal loro corni che suonano un arpeggio ascendente in rincorrere le Ondine, che sfrecciano da una mito. Questo è il suo significato e in questo sta capo, Alberich, dopo gli eventi della scena 1, a mi bemolle uno dopo l’altro). Gradualmente i roccia all’altra, prendendosi gioco dei suoi la sua profondità. servire le sue ambizioni di dominazione del sensi percepiscono l’accelerazione delle correnti sforzi. È vero, io sono un perfezionista, non in mondo. Ma i nani non riuscivano mai a in superficie e delle protuberanze rocciose sul 5 All’improvviso dall’alto comincia a fatto di dettagli, ma per quanto riguarda lo soggiogare i giganti e l’estremo controllo del letto del fiume, che si allungano in lontananza. manifestarsi una luce brillante sulla roccia stato d’animo e il significato. Secondo me la mondo apparteneva alla stirpe degli dei, spiriti 2 Compare nuotando l’Ondina Woglinde, centrale; i raggi del sole penetrano attraverso le registrazione della Walküre in inglese non può di luce e aria guidati da Wotan, che esercitava una delle figlie del Reno, e canta delle parole acque e illuminano l’oro del Reno. Le Ondine essere un’esecuzione perfetta, anche se non un governo benevolo sulla terra. solo in parte intelligibili mentre gira intorno a esaltano allegramente il tesoro a cui fanno la sono mai stato altrettanto soddisfatto di Das Rheingold, prologo di questo epico uno degli scogli più imponenti. Una delle sue guardia. 6 Alberich si incuriosisce e viene a Curphey e Remedios nel primo atto. Preferisco dramma, si svolge al mattino del mondo tra sorelle, Wellgunde, si unisce a lei inseguendola sapere che non si tratta solo di un ornamento le registrazioni dal vivo perché secondo me è queste tre stirpi del creato. Vicini agli dei, ma e una terza, Flosshilde, si immerge, scintillante; chi sappia forgiare un anello con importante il contributo del pubblico non appartenenti al loro numero sono Loge, rimproverandole per la loro disattenzione; esso, avrà il dominio del mondo. Flosshilde all’interpretazione. Siegfried e Das Rheingold in spirito del fuoco e dell’astuzia, che Wotan ha dovrebbero custodire l’oro che riposa sulla teme di aver detto troppo finché Woglinde le inglese sono meravigliosi: qui e là si può domato e di cui è diventato amico ed Erda, la roccia. Ma anche lei viene coinvolta nel gioco. ricorda che l’oro può essere ottenuto solo da

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chi è disposto a rinunciare all’amore (“Solo chi di Wotan (e la somiglianza del tema del Fafner, più cinico e sprezzante, desidera solo delle figlie del Reno; 5 ma questo non lascia dell’amore la potenza rinnega”), e nessuno, Walhalla, per le tube wagneriane, con quello sottrarre agli dei il potere che ha Freia di indifferenti né i giganti – 6 né, tantomeno, men che mai questo spauracchio infatuato, dell’anello ci ricorda che anch’esso è un ringiovanire, perché senza di lei essi gli dei. sarebbe disposto a farlo. Ma hanno abbassato simbolo di potere e che Wotan e Alberich non invecchieranno e moriranno, lasciando il 7 Entrambe le parti decidono che l’oro è la guardia troppo presto: 7 Alberich, di cui sono diversi l’uno dall’altro come vorrebbero potere ai giganti. 13 I due resistono al debole estremamente desiderabile e Loge assicura hanno disprezzato l’amore, è infinitamente pensare). tentativo di Wotan di convincerli a indicare Wotan che si può ottenere senza dover avido di potere e quindi è perfettamente 9 Fricka si sveglia per prima, vede il nuovo un’altra forma di pagamento. 14 I fratelli di rinunciare all’amore, ma semplicemente con il disposto a pagare questo prezzo per castello e sveglia il marito, che ne ammira lo Freia, Froh e Donner, uno radiante genialità, furto, che non è affatto un crimine, aggiunge, impadronirsi dell’oro. Si avvicina ad esso splendore (“Perfetta l’opera perenne!”). La l’altro un aggressivo criminale, arrivano appena purché Wotan lo restituisca al Reno. 8 Fafner prima che se ne accorgano le figlie del Reno; moglie però gli ricorda ansiosamente che deve in tempo per impedire che Freia venga annuncia che Freia potrà rimanere con gli dei 8 lancia una terribile maledizione sull’amore, essere pagato e il prezzo pattuito con i giganti trascinata via. Wotan impedisce a Donner di se Wotan pagherà i giganti con l’oro di afferra l’oro e scompare nelle profondità. Ai che l’hanno costruito è sua sorella, Freia domare i giganti con la forza (“Niente con la Alberich. Invano Wotan ribatte che l’oro non è lamenti delle figlie del Reno risponde l’eco (talvolta chiamata Holda), dea dell’eterna violenza!”). suo e non può consegnarlo; i due giganti della sua risata di scherno. giovinezza e custode delle sacre mele che prendono in ostaggio Freia, promettendo di Scende di nuovo l’oscurità, le acque hanno il potere di ringiovanire. Fricka è Secondo Compact Disc ritornare la sera stessa e riportarla indietro in continuano a fluire; corni inglesi e tedeschi furibonda perché il prezzo è stato concordato cambio dell’oro. 9 – 10 Non appena escono, ricordano la melodia della maledizione durante una sua assenza, ma desidera il castello 1 – 2 Finalmente arriva Loge, che ha si capisce subito che senza Freia e le sue mele dell’amore; le nubi ammantano la scena. quando Wotan, 10 se non altro perché spera verificato la qualità dei lavori di costruzione e gli dei invecchiano e si indeboliscono, privi di che serva a farlo rimanere a casa e a sottrarlo 3 si lamenta degli insulti che riceve per il suo ogni potere di agire. 11 Con grande sollievo di Scena 2 dalla tentazione dell’adulterio. Il dio non ha ritardo (“Sempre ingratitudine è di Loge il Fricka e degli altri, Wotan decide di andare Spazio aperto su un altopiano intenzione di mantenere la promessa di compenso!”). Ha cercato dappertutto anche con Loge fino al Nibelheim per impadronirsi Quando le nubi si disperdono, al suono del consegnare Freia in cambio del Walhalla e fa un pagamento alternativo. Ma sembra che dell’oro e pagare il riscatto di Freia. I due tema dell’anello sui corni, ci troviamo affidamento su Loge, suo astuto consigliere nessuno sia in grado di suggerire una cosa più scivolano attraverso una fenditura nella roccia trasportati in cima ad un’alta montagna che (aveva suggerito lui il contratto) perché trovi desiderabile di una bella donna – 4 solo un e scendono all’interno di una montagna fino s’innalza sul Reno. Wotan e sua moglie Fricka un altro mezzo per soddisfare i giganti. uomo, Alberich, è stato disposto a rinunciare alle caverne sotterranee dove si possono sentire giacciono profondamente addormentati e al 11 Entra Freia, angosciata, e 12 ben presto all’amore pur di impossessarsi dell’oro del i Nibelunghi, schiavi di Alberich, mentre suo levarsi, l’alba rivela un enorme castello la seguono i due giganti costruttori del Reno, con il quale ha forgiato un anello martellano senza sosta le loro incudini (ben scintillante arroccato su una montagna più castello, giunti per esigere il compenso: Fasolt onnipotente. Loge narra la storia del furto di diciotto, come sottolinea la partitura di lontana. È il Walhalla, simbolo della potenza è infatuato della bellezza di Freia; suo fratello Alberich come se riferisse soltanto una protesta Wagner).

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Scena 3 soprattutto del Tarnhelm. Loge finge slega e 6 immediatamente (“Sono libero cominciano immediatamente a litigare sulla Una caverna sotterranea incredulità e sfida Alberich a dimostrare le ora?”) il nano scaglia una maledizione fatale su spartizione dell’oro e quando Fasolt, su 12 Mentre i viaggiatori stanno per terminare la virtù dell’elmo magico. chiunque si impossessi dell’anello: chi non consiglio di Loge, cerca di strappargli l’anello, loro discesa, si profila un vasto antro in cui l’avrà vorrà ottenerlo, chi l’avrà vivrà nel Fafner solleva la propria clava e l’uccide; poi Alberich ha trascinato suo fratello Mime per Terzo Compact Disc terrore di perderlo e sarà condannato a una con calma finisce di accumulare il riscatto di fargli consegnare l’ultimo oggetto da lui morte infelice finché l’anello non sarà Freia in un sacco che si carica sulle spalle, fabbricato. Si tratta di un elmo magico d’oro, 1 Alberich si trasforma in drago mostruoso e restituito ad Alberich. Con questa terribile prima di allontanarsi. 14 – 15 La nebbia è il Tarnhelm, che consente a chi lo indossa di poi, dopo un’altra provocazione, in un imprecazione si allontana, lasciandosi dietro ancora fitta nell’aria e Donner la disperde essere invisibile o cambiare sembianza. minuscolo rospo. Wotan lo calpesta subito, un terribile tema minaccioso. suscitando un sensazionale temporale Alberich lotta per strapparlo al suo creatore, il Loge gli toglie il Tarnhelm e lo imprigiona. 7 Ritornano gli altri dei. Quasi subito (“Heda! Heda! Hedo!”). 16 Froh costruisce quale sostiene che è ancora difettoso; 13 lo 2 I due trascinano il nano sulla cima Fasolt e Fafner riportano Freia e, 8 vedendo un ponte d’arcobaleno sulla valle e si scorge prova con successo, rendendosi invisibile, rocciosa, ripassando vicino alle incudini e l’oro, chiedono che venga accatastato a ancora una volta il Walhalla. 17 Wotan quindi picchia Mime per la sua tentata soffermandosi nel crepaccio. un’altezza e a un’ampiezza tali da nascondere la saluta ancora una volta la sua nuova fortezza disonestà. Mime continua a gemere in un figura di Freia. 9 La loro avidità non viene (“Serótino splende l’occhio del sole”) e angolo quando 14 arrivano Wotan e Loge e Scena 4 soddisfatta finché non viene aggiunto il gli dei si preparano ad attraversare il ponte 15 si fanno rivelare le condizioni di lavoro nel Spazio aperto su un altopiano Tarnhelm; 10 persino allora, Fasolt trova una d’arcobaleno, anche se Loge confessa di Nibelheim e la magia del Tarnhelm. Loge 3 Wotan e Loge portano Alberich, minuscola apertura attraverso la quale riesce a vergognarsi perché è associato con loro. promette in fretta aiuto ai nani lavoratori, strettamente legato, sull’altopiano e gli scorgere lo sguardo radioso di Freia, ed esige 18 Mentre tutti salgono sul ponte, si sente il mentre 16 irrompe Alberich, seguito da comunicano che per essere liberato dovrà l’anello per riempirla. Wotan rifiuta lamento delle figlie del Reno per la perdita un’orda di Nibelunghi carichi dei frutti del consegnare l’oro. Il nano accetta subito perché categoricamente; ha abbandonato ogni pretesa dell’oro. Ma adesso, a causa del suo inganno, proprio lavoro. Nel vedere Wotan e Loge, sa che l’anello può ricostituire e accrescere di restituirlo alle figlie del Reno e intende Wotan non può più aiutarle e ordina irato a congeda gli altri minacciandoli con l’anello; eternamente il suo tesoro. 4 Opera il suo tenerselo di prepotenza. I giganti si preparano Loge di farle tacere. Le figlie del Reno tutti fuggono, tra grida di terrore, per ritornare incantesimo e i Nibelunghi portano il tesoro ad allontanarsi con Freia, questa volta per piangono ancora mentre gli dei attraversano il al proprio lavoro. 17 Loge adesso cerca di delle loro grotte. 5 Quando chiede la libertà, sempre; 11 ma l’apparizione della Madre Terra ponte ed entrano nel Walhalla. Das Rheingold ingraziarsi Alberich, presentandosi come Loge insiste nel tenere il Tarnhelm e Wotan (“Cedi, Wotan, cedi!”) ammonisce Wotan che termina con un superbo posludio orchestrale vecchio e fidato spirito del fuoco. 18 Alberich nel volere anche l’anello. Alberich, inorridito, l’anello va abbandonato perché in ogni caso il che comprende sei arpe. non si tranquillizza molto e riconosce Wotan; offre qualunque altra cosa, persino la vita, ma destino degli dei è segnato. 19 ma le sue manie di grandezza lo rendono si rende conto ben presto che anche questo lo 12 Wotan si convince, getta l’anello sul William Mann audace e si vanta delle proprie imprese, priverebbe dell’anello. Wotan glielo prende, lo mucchio d’oro e riabbraccia Freia. 13 I giganti Traduzione: Emanuela Guastella

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Nato in South Africa, il baritono basso (Ariadne auf Naxos). Ruoli più recenti hanno nelle Nozze di Figaro, l’Oratore Parigi per studiare con Pierre Bernac e Norman Bailey ha studiato a Vienna e durante incluso Oroveso (Norma), Banquo (Macbeth), (Die Zauberflöte), Alfio (Cavalleria rusticana), Germaine Lubin. Dopo un’interpretazione la prima parte della sua carriera ha cantato in il Re (Aida), il Dottore (Wozzeck) e Schigolch Silvio (Pagliacci), Escamillo (Carmen) e televisiva di Pelléas et Mélisande di Debussy a Austria e Germania. È poi ritornato nel Regno (Lulu). La sua carriera internazionale lo ha Schlemil (Les Contes d’Hoffmann). L’artista ha Parigi, veniva scelto per cantare Pelléas alla Unito dove ha cantato con tutte le compagnie visto sui palcoscenici delle opere ed ai festival lavorato molto anche con la Royal Opera, Scottish Opera, poi Gonzalve ne L’Heure d’opera più importanti. È uno dei principali più importanti in tutta Europa e negli Stati Covent Garden. espagnole di Ravel diretta da Georg Solti alla cantanti di Wagner della sua generazione, Uniti, incluse parecchie stagioni a Bayreuth, ed Royal Opera House, Covent Garden. collegato particolarmente con la parte del a collaborare con direttori quali Sir Colin Il tenore Robert Ferguson è nato ad Atene e Trasferitosi in Inghilterra, ha iniziato una lunga personaggio principale nel Fliegende Holländer Davis, Sir Georg Solti, James Levine, Carlo ha studiato presso il Royal Manchester College collaborazione con la Sadler’s Wells Opera e come Hans Sachs in Die Meistersinger von Maria Giulini, Wolfgang Sawallisch, Claudio of Music (oggi Royal Northern College of (oggi English National Opera) che ha incluso, Nürnberg. Ha anche cantato come Landgraf in Abbado e Daniel Barenboim. Per Chandos ha Music) con Frederick Cox. Ha interpretato i oltre al suo famoso Loge in Das Rheingold, Tannhäuser con Opera North e Wotan/il registrato la parte principale in King Priam di ruoli di Pinkerton (Madama Butterfly) e Don alcuni ruoli in Orphée aux enfers, Barbe-Bleue e Viandante e Gunther con l’English National Sir Michael Tippett. Ottavio (Don Giovanni) con la Yorkshire Patience. Il suo vasto repertorio va da Eride Opera, dove come membro della compagnia Opera, e ha esordito alla Sadler’s Wells Opera (Salome) e la prima britannica della versione in ha anche cantato nella parte di Pizarro Il baritono Norman Welsby è nato a (oggi English National Opera) nelle vesti di tre atti della Lulu di Berg al Covent Garden, a (Leonore di Beethoven), Conte di Luna Warrington, nel Lancashire e ha studiato Pinkerton, passando poi ai ruoli di Nerone Eisenstein (Die Fledermaus) e il conte Danilo (Il trovatore), Alfio (Cavalleria rusticana), presso il Royal Manchester College of Music (L’incoronazione di Poppea), Turiddu (Die lustige Witwe), oltre a includere il ruolo di Scarpia (Tosca), il Padre (Hänsel und Gretel ), (oggi Royal Northern College of Music). (Cavalleria rusticana), Camille (Die lustige protagonista di Man of La Mancha nel West il Principe Gremin (Eugene Onegin), Kutuzov Dopo due stagioni con la Glyndebourne Witwe) e Tikhon (Kát’a Kabanová). End di Londra. Il cantante è comparso inoltre (Guerra e pace di Prokof’ev) e il Guardiaboschi Festival Opera, dove ha interpretato, tra l’altro, con la Welsh National Opera, il Châtelet (La piccola volpe astuta) tra gli altri ruoli. il ruolo di protagonista in Falstaff, è entrato Nato a Saskatchewan, in Canada, Emile théâtre musical, la Canadian Opera Company, Con la Royal Opera, Covent Garden è alla Sadler’s Wells Opera (oggi English Belcourt ha studiato inizialmente come la San Francisco Opera, e la Seattle Opera dove comparso nella parte di Balstrode (Peter National Opera), debuttando nelle vesti di baritono leggero presso l’accademia musicale di ha cantato Tristano. Il suo repertorio Grimes, anche in tournée a Palermo) e di Masetto (Don Giovanni). I diversi ruoli da lui Vienna, poi è entrato nelle compagnie liriche contemporaneo comprende The Violins of Germont (La traviata), Ford (Falstaff ), interpretati con la compagnia vanno da di Ulm e Bonn dove ha interpretato i ruoli di Saint-Jacques e Lucky-Peter’s Journey di Malcolm Wolfram (Tannhäuser), Kurwenal (Tristan und Liberto ne L’incoronazione di Poppea a Don Giovanni, Guglielmo (Così fan tutte), Williamson, A Penny for a Song di Sir Richard Isolde), Donner (Das Rheingold ), Wotan Pentheus nella prima britannica di Sharpless (Madama Butterfly), Escamillo Rodney Bennett, The Royal Hunt of the Sun di (Die Walküre), Klingsor e Amfortas (Parsifal), The Bassarids di Hans Werner Henze e (Carmen) e Dr Falke (Die Fledermaus). Avendo Iain Hamilton e Toussaint L’Ouverture di David Jochanaan (Salome) ed il Maestro di musica comprendono anche la parte di protagonista deciso di diventare tenore, si è trasferito a Blake.

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Nato nell’Essex, dopo aver frequentato Ha lavorato con i più grandi direttori Meyerbeer con l’ Opera Australia nel 1990, ha partecipato a diverse prime teatrali l’università di Oxford, Robert Lloyd ha d’orchestra del mondo e svolge un’eccezionale lasciato l’opera, ritornando però a cantare nel britanniche, tra cui quelle di Orfeo ed Euridice abbandonato lo studio della storia per attività concertistica, partecipando anche a 1993 come Alvise Badoero ne La Gioconda di Haydn (nel ruolo di Creonte), La pietra del dedicarsi al canto a 28 anni. Veniva nominato moltissime registrazioni e trasmissioni. Nel con l’Opera North. Ha collaborato con paragone di Rossini (Pacuvio), Guerra e Pace di basso solista presso The Royal Opera, Covent 1991 ha ricevuto l’onorificenza CBE. artisti insigni quali Dame Joan Sutherland, Prokof’ev (nel ruolo di Napoleone, con Garden, dove ha interpretato un repertorio Otto Klemperer, Sir Adrian Boult e Sir Colin l’English National Opera) e Der Besuch der vastissimo ed è stato il primo basso britannico Il cantante basso australiano Clifford Grant ha Davis. alten Dame di Gottfried von Einem (nelle vesti a interpretare il ruolo di protagonista nel Boris studiato a Sydney, Melbourne e Londra, ed ha del Maestro a Glyndebourne). Ha creato il Godunov, nell’allestimento del compianto fatto la sua prima comparsa in un’opera con la Il baritono inglese Derek Hammond-Stroud ruolo del Vecchio pescatore nella prima Andrei Tarkovsky. L’allestimento, con Robert New South Wales Opera Company nel ruolo ha studiato con Elena Gerhardt e Gerhard mondiale di The Violins of Saint-Jacques di Lloyd nelle vesti di Boris, più tardi si sarebbe di Raimondo in Lucia di Lammermoor. È Hüsch a Monaco e a Londra; la sua carriera lo Malcolm Williamson a Sadler’s Wells. Ha trasferito alla Kirov Opera di Leningrado, dove entrato nella Sadler’s Wells Opera (che più ha portato sulle pedane del recital e sulle scene ricevuto numerose onorificenze, tra cui un è stato teletrasmesso a livello internazionale, e tardi diventò l’English National Opera), dove del teatro lirico. Ha cantato con le principali OBE nel 1987. all’Opera di Vienna, dove è stato diretto da è comparso nella parte di Seneca compagnie liriche britanniche; in Europa è Claudio Abbado. Il cantante ha portato il (L’incoronazione di Poppea), del stato impegnato, tra l’altro, con l’Opera Il tenore australiano Gregory Dempsey, nato a ruolo anche ad Amsterdam e Firenze. Oltre Commendatore (Don Giovanni), di Sarastro nazionale della Baviera di Monaco, il Theater Melbourne, ha esordito nelle vesti di Don alle ultime apparizioni al Covent Garden (che (Die Zauberflöte), di Silva (Ernani), del Padre an der Wien, il Theater am Gärtnerplatz, e Ottavio per la National Opera Company della comprendono Roméo et Juliette, Chérubin e Guardiano (La forza del destino), di Filippo II con l’Opera dei Paesi Bassi per tre stagioni. sua città, prima di entrare a far parte della Samson et Dalila), ha fatto visita al Teatro alla (Don Carlos), di Re Enrico (Lohengrin), di Nell’America del nord e del sud ha cantato al Elizabethan Trust Opera Company. In seguito Scala di Milano (Der fliegende Holländer e Pogner (Die Meistersinger von Nürnberg), di Teatro Colón di Buenos Aires, al Metropolitan alla sua apparizione nel ruolo di Jenik nella Parsifal ), alla Deutsche Oper di Berlino Fafner, Hunding e Hagen (Der Ring des Opera di New York e all’Opera di San Diego, Sposa venduta con la Sadler’s Wells Opera (poi (Tristan und Isolde), all’Opera dei Paesi Bassi Nibelungen) e nei ruoli principali ne Il barbiere tra l’altro. Tra i suoi ruoli principali vanno divenuta English National Opera) veniva (Pelléas et Mélisande), al Festival di Salisburgo di Siviglia, Rigoletto, Madama Butterfly, ricordati Dottor Bartolo, Rigoletto, Fra nominato tenore stabile della compagnia. Tra i (Le nozze di Figaro, Don Giovanni e Les Manon, Oedipus Rex e Peter Grimes. È Melitone (La forza del destino), Sharpless, suoi numerosi ruoli vanno ricordati Florestan, Troyens), alla Metropolitan Opera di New York comparso anche alla Royal Opera, Covent Tonio (Pagliacci), Papageno, Alberich, Max, Erik (Der fliegende Holländer), David (Die Zauberflöte, Fidelio, Rigoletto, Aida e Garden, la Welsh National Opera, la Beckmesser, Faninal (Der Rosenkavalier), (Die Meistersinger von Nürnberg), Mime, Don Faust), all’Opera di San Francisco Glyndebourne Festival Opera, l’Opéra de Krusvina (La sposa venduta) e Sir Robert Cecil José, Canio, Gregor (L’affare Makropulos), (L’incoronazione di Poppea e Don Carlos) e la Marseille, la San Francisco Opera, e a Sydney. (Gloriana) oltre a numerosi personaggi delle Skuratov (Da una casa di morti), Tom Lyric Opera di Chicago (Simon Boccanegra). Dopo essere comparso ne Les Huguenots di opere di Gilbert e Sullivan e di Offenbach. Ha Rakewell ed Essex (Gloriana). È stato inoltre

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frequente ospite della Royal Opera, Covent ruolo di Thea in The Knot Garden di Tippett, Elsa (Lohengrin), Tosca e Arabella prima di Poppea, Le Comte Ory, Un ballo in maschera, Garden, della Welsh National Opera e della e vi ha fatto ritorno con Preziosilla (La forza esordire con la Sadler’s Wells Opera (oggi Madama Butterfly e Arabella oltre a Dame Scottish Opera; ha cantato al Festival di del destino) e Kate Julian (Owen Wingrave di English National Opera) nelle vesti della Quickly (Falstaff ), Katisha (The Mikado), Edimburgo e al Festival di Aldeburgh. Britten). È stata Baba la turca (The Rake’s Semele di Handel. I ruoli seguenti con la Mrs Sedley (Peter Grimes) e altre parti, tra cui All’estero è comparso con la San Francisco Progress) al festival di Glyndebourne, compagnia comprendono Ilia (Idomeneo), la soprattutto quella di Erda, nel ciclo del Ring Opera oltre che a Bruxelles, Stoccarda e altre Dalila (Samson et Dalila) con l’English Contessa (Le nozze di Figaro), Donna Elvira e di Wagner. Ha cantato spesso con The Royal città europee. Oggi abita in Australia, dove si è National Opera North (oggi Opera North), Donna Anna, Fiordiligi, la protagonista di Opera, Covent Garden e si è anche esibita con esibito spesso con l’Australian Opera (poi Brangäne (Tristan und Isolde) a Düsseldorf, la Euryanthe, Lucrezia Contarini (I due Foscari), la Welsh National Opera (Filippievna divenuta Opera Australia) e con la Victoria principessa Marina (Boris Godunov) a Gilda, Violetta, Manon (Massenet), Rosalinde nell’Eugenio Onieghin), Opera North (la nutrice State Opera. Inoltre è apparso al Festival di Francoforte e Preziosilla all’Opéra di Parigi. (Die Fledermaus), la Marschallin (Der in Ariane et Barbe-Bleue e Auntie in Peter Adelaide (protagonista en titre, Viaggi del L’esordio americano è stato nelle vesti di Rosenkavalier), Jenny (The Mines of Sulphur di Grimes) e la Scottish Opera (Ines de Castro di signor Broucvek, e Mark in The Midsummer Carmen all’Opera di San Diego, dove la Sir Richard Rodney Bennett) e il ruolo di James MacMillan), ed è comparsa ai festival di Marriage di Tippett). cantante è ritornata due anni dopo nel ruolo protagonista alla prima mondiale di Anna Glyndebourne, Aldeburgh, Wexford e Camden di Eboli. Katherine Pring è un’affermata Karenina di Iain Hamilton, oltre a Freia nel e ai Promenade Concerts, i concerti estivi della Il mezzosoprano Katherine Pring ha studiato interprete di concerti e recital e si è esibita con famoso ciclo del Ring diretto da Reginald BBC. Ha partecipato a concerti, festival e con le presso il Royal College of Music di Londra e direttori del calibro di Claudio Abbado, Goodall. Oltre alla Royal Opera, Covent compagnie liriche di tutta Europa, nei teatri di presso il Conservatorio di Ginevra, e ha fatto Christoph von Dohnanyi e Sir Charles Garden, è comparsa con la Welsh National Lione, Strasburgo, Ginevra e Amburgo, persso un esordio spettacolare nelle vesti di Flora Mackerras. Opera, la Scottish Opera, la Dublin Grand l’Opéra di Parigi e il Châtelet théâtre musical, il (La traviata) presso il Grand Théâtre di Opera, e ha partecipato ai Promenade Théâtre royal de la Monnaie di Bruxelles e il Ginevra. Dopo essere entrata alla Sadler’s Wells Il soprano canadese Lois McDonall ha Concerts della BBC. La sua discografia Teatro alla Scala di Milano. Le sue apparizioni Opera (oggi English National Opera), ha conquistato una reputazione speciale per la comprende Maria Padilla di Donizetti per americane l’hanno portata anche alla interpretato, tra l’altro, i ruoli di Ottavia naturale bellezza della sua voce e la tecnica Opera Rara. Metropolitan Opera di New York. Ha al suo (L’incoronazione di Poppea), Dorabella (Così sicura che le ha consentito di interpretare con attivo numerose registrazioni. Tra esse, per fan tutte), Azucena (Il trovatore), Eboli (Don altrettanta eleganza la musica di Mozart e Il contralto Anne Collins ha studiato presso il Chandos, Peter Grimes diretto da Richard Carlos), Suzuki (Madama Butterfly), il principe quella di Richard Strauss. Ha esordito con la Royal College of Music e ha esordito a Londra Hickox, che ha vinto un premio Grammy. Orlofsky (Die Fledermaus), Carmen, Jocasta Canadian Opera Company nel Segreto di con un recital presso la Purcell Room. Poco (Oedipus Rex), e Agave nella prima teatrale Susanna di Wolf-Ferrari. Alle Städtische dopo entrava alla Sadler’s Wells Opera (oggi Nata a Birkenhead, dopo aver vinto borse di britannica di The Bassarids di Henze. Ha Bühnen di Flensburg ha cantato i ruoli di English National Opera) dove il suo repertorio studio a Londra e a Milano, il soprano Valerie esordito alla Royal Opera, Covent Garden nel Constanze (Die Entführung aus dem Serail), ha compreso ruoli ne L’incoronazione di Masterson ha cantato per una stagione presso

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il Salzburger Landestheater, prima di entrare internazionale di Bergen, a Vienna e in artistica dell’Opera e, oltre a esibizioni liriche di Britten. Verso la fine degli anni ’30 lavorò alla D’Oyly Carte Opera Company come Giappone. Il suo vasto repertorio include al Coliseum di Londra è stata anche vista sul per assistere, tra gli altri, Albert Coates e soprano solista. Ha cantato con le principali Ottavia (L’incoronazione di Poppea), Marcellina palco in concerto. Inoltre molti dei musicisti Malcolm Sargent. All’inizio della seconda compagnie liriche britanniche, tra cui la (Le nozze di Figaro), Ulrica (Un ballo in partecipano al lavoro del Baylis Programme del guerra mondiale diventò direttore della Wessex Glyndebourne Festival Opera. All’estero è maschera), Magdalene (Die Meistersinger von dipartimento di educazione e “outreach” Philharmonic Orchestra con base a comparsa al festival di Aix-en-Provence, Nürnberg), Herodias (Salome), Annina dell’Opera e con l’English National Opera Bournemouth. all’Opéra di Parigi e nei teatri lirici di Tolosa, (Der Rosenkavalier), Adelaide (Arabella), Studio allo sviluppo di nuove opere, in Durante il mese di giugno 1945, facendo Nancy, Montpellier, Ginevra, Praga, Monaco, Martha (Faust), la strega (Rusalka) e particolare The Silver Tassie di Mark-Anthony parte della Sadler’s Wells Opera (che più tardi Milano, Barcellona, Dublino, Santiago, San Filippievna (Eugenio Onieghin). Turnage che è stata uscita in prima mondiale diventò l’English National Opera), diresse la Francisco, Houston, Chicago e New York. Il nel febbraio 2000. L’Orchestra appare in prima esecuzione di Peter Grimes al Sadler’s suo vasto repertorio spazia da L’incoronazione Il contralto Helen Attfield ha studiato numerose registrazioni, tra cui la sua Wells Theatre appena riaperto. L’anno di Poppea di Monteverdi a The Turn of the presso la Royal Academy of Music, dove ha registrazione dell’Otello di Verdi diretto da seguente prese parte con Ernest Ansermet alle Screw di Britten; inoltre ha preso parte alla vinto molti premi. Con l’English Opera Mark Elder, che apparirà presto su Chandos prime esecuzioni del Rape of Lucretia di prima mondiale di We Come to the River di Group ha cantato in occasione della prima con il patrocinio della Peter Moores Britten durante la prima stagione del Henze e alla prima britannica di The King mondiale di Death in Venice di Britten. Foundation. Altre registrazioni per Chandos/ dopoguerra del Glyndebourne Festival. Goes Forth to France di Sallinen, entrambe Oltre ad interpretare diversi ruoli con la Peter Moores Foundation sono Maria Stuarda, Immediatamente dopo si associò al Covent presso la Royal Opera House, Covent Garden. English National Opera, è comparsa nelle Giulio Cesare, Il barbiere di Siviglia, Rigoletto Garden, dove per venticinque anni successivi La sua ricca discografia comprende, Giulio vesti di Maddalena (Rigoletto) con la (produzione di Jonathan Miller), La traviata e diresse un repertorio che andava da Il trovatore Cesare e La traviata per Chandos, entrambe in Welsh National Opera e si è esibita con la Werther. a Troilus and Cressida. associazione con la Peter Moores Foundation. Handel Opera Society e con l’Opera di Solo raramente ebbe la possibilità di dirigere Nel 1989 ha ricevuto il CBE, un’onorificenza Bruxelles. Il direttore d’orchestra inglese Reginald opere del compositore che più ammirava, reale. Goodall nacque nel 1901 e studiò con Richard Wagner. Questa lacuna fu colmata nel Acclamata dalla critica e dal pubblico, Malcolm Sargent e Constant Lambert al 1968, non dalla Royal Opera ma dalla Sadler’s Shelagh Squires ha studiato presso la l’Orchestra di English National Opera, primo Royal College of Music. Dal 1929 al 1936 Wells, che lo invitò a dirigere una nuova Guildhall School of Music and Drama. È violino Barry Griffiths, ha ricevuto negli fu organista e maestro del coro a St Alban produzione dei Meistersinger von Nürnberg. Il comparsa con la English National Opera, la ultimi anni diversi premi prestigiosi, tra cui il the Martyr, Holborn, dove condusse le suo successo fu così straordinario che ritornò Glyndebourne Festival Opera e la Touring Royal Philharmonic Society Music Award e un prime esecuzioni in Inghilterra delle alla compagnia per dirigere quella leggendaria Opera, e con la Metropolitan Opera di New Olivier Award for Outstanding Achievement in composizioni corali di Bruckner, Stravinsky e produzione completa del Ring des Nibelungen, York tra l’altro; inoltre si è esibita al festival Opera. L’Orchestra è al centro della vita Szymanowski, oltre che le prime composizioni costruita tra il 1970 ed il 1973 e la prima data

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in inglese per molti anni. Continuò poi a Parsifal alla English National Opera. Ottenne dirigere Das Rheingold e Die Walküre per la l’onorificenza del CBE nel 1975 e fu fatto Royal Opera, Tristan und Isolde e Die Walküre cavaliere nel 1985. Reginald Goodall morì nel per la Welsh National Opera e Tristano e 1990 ad ottantotto anni. Anthony Crickmay/Theatre Museum, V&A Museum, Anthony Crickmay/Theatre

Alberich and Loge, with the Rhinegold, Scene 3

130 131 CHAN 3054 BOOK.qxd 25/7/08 11:31 am Page 132 Anthony Crickmay/Theatre Museum, V&A Museum, Anthony Crickmay/Theatre John Garner/English National Opera Archive Opera National Garner/English John

Wotan (Raimund Herincx) with the ring, Scene 4 Fafner, Fasolt and Freia with the Rhinegold, and with Donner and Froh in the background, Scene 4

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COMPACT DISC ONE Wellgunde’s voice (from above) they dart like fish from rock to rock, joking and (The others follow her, and all three gather swiftly Woglinde, watching alone? laughing. round the central rock.) Scene 1 Meanwhile Alberich, clambering up a rock, has Woglinde Alberich emerged from a dark chasm at the bottom. He pauses, Till Wellgunde joins me down here. You, above there! On the bed of the Rhine still surrounded by darkness, and with increasing Greenish twilight, brighter towards the top, darker Wellgunde (dives down from the waters to the rock) pleasure watches the water-maidens at play.) Woglinde, Wellgunde and Flosshilde below. The upper part of the stage is filled with Let’s see how you watch! Alberich What want you, below there? swirling waters that flow restlessly from right to left. 3 (She tries to catch Woglinde.) He, he! You nixies! Alberich Towards the bottom, the waters dissolve into an What a delightful, Only to stand increasingly fine damp mist, so that a space a man’s Woglinde (swims away from her) delicate sight! admiring your charming games; height from the ground seems to be completely free Safe from your grasps! From Nibelheim’s night then if you’re friendly of the water, which flows like a train of clouds over (They tease and playfully try to catch one another.) I would draw near you’ll dive down the dusky bed. Craggy points of rock rise everywhere if I thought you’d be kind. to the bottom, so I can join in! from the depths and mark the confines of the stage. Flosshilde’s voice (from above) (At the sound of Alberich’s voice, the maidens stop The whole river-bed is broken up into a craggy Heiala weia! Woglinde their play.) confusion, so that nowhere is it completely flat, and Careful, my sisters! He wants us to join him? on all sides, in the dense darkness, there seem to be Wellgunde Woglinde 1 deeper gorges. The orchestra begins while the Hi! Who is there? Wellgunde curtain is still closed. Flosshilde, swim! He must be mad! When the curtain rises, the watery depths Woglinde flies: Wellgunde Alberich are in full flood. In the centre of the stage, round a hurry and help me to catch her! Look who is below! You shine and gleam rock whose slender point reaches up into the Flosshilde (dives down and comes between them in Flosshilde in the watery gloom! brighter area of densely swirling water, one of the their play) A voice in the dark. How I would love Rhinemaidens is circling with a graceful swimming The sleeping gold to enfold such maids in my arms: motion. (They dive down deeper and recognise the Nibelung.) calls for your care! please come join me below! Back to your task Woglinde and Wellgunde Woglinde of guarding its bed, Pfui! He’s horrible! Flosshilde 2 Weia! Waga! or else you’ll pay for your games! I laugh at my fears: Wandering waters, Flosshilde (swiftly darting upwards) the dwarf is in love! lulling our cradle! (With merry cries the other two separate: Flosshilde Be on your guard! Wagalaweia! tries to catch first one, then the other; they elude her Father warned us Wellgunde Wallala, weiala weia! and finally combine in joint pursuit of her; thus about such a foe. The languishing dwarf!

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Woglinde Woglinde (eluding him) Alberich (turning towards her) just what you are like? Teach him a lesson! If I am yours, Calling to me? Pfui! You hairy old then follow me here! hideous imp! (She lowers herself onto the top of the rock, to the Wellgunde Scaly, spotted foot of which Alberich has reached.) (She dives to another rock.) And hear this advice: and sulphurous dwarf! Alberich Alberich (scratches his head ) why chase Woglinde? Look for a sweetheart She sinks to the rock! Alas! You escape? Wellgunde calls you! black as yourself! Ah, come nearer! Woglinde Alberich (hastily clambering over the bottom You can swim, Alberich (trying to hold her by force) Come closer to me! towards Wellgunde) but I stumble and slide. What though I am black – And you are fairer still you’re tight in my grasp! Alberich (clambers with gnome-like agility Woglinde (swims off to a third rock, further down) than your sister, towards the top of the rock, but is repeatedly held Would you prefer who gleams less brightly, Wellgunde (swiftly diving away to the central rock) back) this place at the bottom? who’s far too sleek. So tight, I slip from your hands! 4 Slimy, slippery, Now come towards me slithery smoothness! Alberich (clambers down hastily) so I can clasp you! Woglinde and Flosshilde The slope’s too steep! It’s certainly safer! Hahahahaha! My hands and my feet Wellgunde (descending a shade closer still towards Woglinde (darts upwards to a high rock at the side) Alberich cannot get any grip him) Now let us go high! Well, now am I near? Faithless thing! on the slippery surface! Bony, cold-blooded fish! And the water Wellgunde and Flosshilde Alberich So I’m not handsome, tickles my nostrils: Hahahahaha! Not near enough! pretty and playful, oh, curse this sneezing! Alberich Those lovely arms slim and sleek – (He has got close to Woglinde.) Oh, how can I catch come twine round my neck, Hei! Make love with an eel, then, this flighty fish? so I can touch you if he’s more to your taste! Woglinde (laughing) and play with your tresses, Wait for me, false one! Flosshilde Sneezing tells me and fondle your breasts Stop grumbling, dwarf. my lover is near! (He scrambles up after her.) in my passionate, burning embraces! So soon dismayed? Alberich Wellgunde (has sunk to a deeper rock on the other Wellgunde With two you have failed! You’re mine at last, side) So you’re in love and Now try the third one. you beautiful child! Heia! Fair lover, longing to hold me; Seek her love; (He tries to embrace her.) turn you this way. let’s see, my beauty, she may console your grief!

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Alberich (She draws him tenderly towards her.) Woglinde and Wellgunde Alberich Lovely sounds Dearest of men! Hahahahahaha! Passionate fevers, ravish my ears! fervid desires, What luck to find Alberich Alberich (in a screeching voice) have set me on fire! three of them here; Sweetest of maids! Sorrow! Oh, sorrow! Rage and longing, Oh, shame! Oh, shame! for one of the three may accept me Flosshilde wild and frantic, The third one, so dear, while one alone would reject me! Now you are mine! drive me to madness! Show I can trust you, betrays me as well. Though you may laugh and lie, and glide to my arms! Alberich You shameless, slippery yearning conquers my heart Faithful for ever. underhand, infamous wretches! and I’ll not rest till I’ve caught you! Flosshilde (dives down to Alberich) Shifty and sly, Oh, foolish sisters, Flosshilde (holding him close in her arms) you treacherous watery tribe! (He prepares himself with desperate efforts for the blind to beauty, Oh, the sting of your glance, chase; with terrible agility he clambers from rock to can’t you see that he’s fair? and the prick of your beard – Woglinde, Wellgunde and Flosshilde rock, leaps from one to another, tries to catch first Wallala! Lalaleia! Leialalei! one, then another of the maidens, who always elude Alberich (approaching her) oh, how they have captured my heart! Heia! Heia! Haha! him with merry cries. He stumbles, plunges down And I declare them And the locks of your hair, Shame on you, Alberich! to the bottom, then climbs quickly up to the heights stupid and ugly, so shaggy and sharp, Stop your complaining! again for a further chase. They lower themselves a now that the loveliest is mine! must float round Flosshilde ever! And your shape like a toad, Wait, and hear what we tell you! little. He almost reaches them but again plunges Flosshilde (cajolingly) and the croak of your voice – You foolish Niblung, down, and tries once more. At last he stops, Oh, sing your song oh, how they ravish my soul: you should have held us foaming with rage and breathless, and shakes his so soft and sweet, I want nothing but these! tightly while you could. clenched fist up at the maidens.) your voice bewitches my ear! You’ll find Woglinde and Wellgunde Alberich (almost out of control ) Alberich (caressing her fondly) that we can be true One, I swear, shall be mine… Hahahahahaha! and faithful, once we are caught! My heart bounds (He remains speechless with rage, looking upwards, and flutters and burns, Alberich (starting from Flosshilde’s embrace in Back to the chase and grab without fear! and then is suddenly attracted and spellbound by hearing this praise from your lips. alarm) the following spectacle. Through the waters an Are they daring to laugh? In the waves it’s hard to escape. Flosshilde (gently restraining him) Wallala! Lalaleia! Leialalei! increasingly bright light penetrates from above, Oh, how your beauty Flosshilde (suddenly darting away from him) Heia! Heia! Hahei! gradually kindling, on a high point of the central delights my eyes, And laughter’s the end of my song! rock, to a blindingly brightly-beaming gleam of and your smile so tender (They swim apart, hither and thither, now deeper, gold; a magical golden light breaks through the inspires my soul! (She dives quickly upward with her sisters.) now higher, to incite Alberich to pursue them.) waters from this point.)

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Woglinde Wonderful games Woglinde, Wellgunde and Flosshilde Wellgunde 5 Look, sisters! we’ll play in your praise: Ah, how gladly My prudent sister, The sunlight is greeting the gold. flash in the foam, we glide in its radiance! no need to be cross! Wellgunde flame in the flood, Come to join us Surely you know Through the watery gloom and floating around you, and bathe in brightness, all that’s required she calls to the sleeper to wake. dancing and singing, come sport and swim in the shine! of him who’d master the gold? in joy we will dive to your bed! Wallalalala leialalei! Flosshilde Rhinegold! Wallalalala leiajahei! Woglinde She kisses his eyelids, Rhinegold! He must pronounce tells them to open. Heiajaheia! Alberich a curse on love, Is that all it’s good for, Wellgunde Wallalaleia heiajahei! he must renounce to shine at your games? See him smile now all joys of love, (With increasingly abandoned joy, the maidens Why, then it is worthless! with gentle light. before he masters the magic, swim round the rock. All the waters are a-glitter a ring to forge from the gold. Woglinde with golden radiance.) Woglinde Through the floods afar This golden charm Alberich (whose eyes are powerfully attracted to the Wellgunde shine his glittering beam! you would revere, And that’s a thing gleam, stares fixedly at the gold ) oh, if you knew of its marvels. Woglinde, Wellgunde and Flosshilde (swimming 6 What’s that, you nixies, that will never be: together gracefully round the rock) I see that shines and gleams? Wellgunde all men who live must love; Heiajaheia! The world’s wealth can no one could ever renounce it. Heiajaheia! Woglinde, Wellgunde and Flosshilde be won by a man who, Wallalallalala leiajahei! Ignorant dwarf, where’ve you lived? seizing the Rhinegold, Woglinde Rhinegold! Of the Rhinegold have you not heard? fashions a ring: And least of all he, Rhinegold! that ring makes him lord of the world. that lecherous dwarf, Wellgunde all hot desire, Radiant joy! The dwarf’s not heard We laugh in your joyful shine! Flosshilde panting with lust! of the golden radiance Our father told us, Glorious beams which sleeps and wakes in turn? that glitter and gleam in the waves! but then he warned us Flosshilde Heiajahei! Woglinde we should guard it Well, I admit Heiajaheia! In the watery deeps and keep it safe, we’ve nothing to fear. Waken friend! this wonderful star lest some false one should wickedly steal it: I was nearly scorched Wake in joy! shines forth and brightens the waves. be quiet, you chattering fools! when he came near.

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Wellgunde Woglinde, Wellgunde and Flosshilde Woglinde, Wellgunde and Flosshilde Wotan (gently, still dreaming) A sulphur-brand Heia! Heia! Heiajahei! Woe! Woe! The sacred hall of the gods in the swirling waves, Save yourselves! is guarded by gate and door: inflamed with longing, The dwarf has gone mad; (The waters sink down with them into the depths; manhood’s honour, sizzling loud! and the water swirls from the lowest depth, Alberich’s harsh, mocking unending power, where he has leapt. laughter is heard. The rocks vanish in thickest rise now to endless renown! Woglinde, Wellgunde and Flosshilde His love has cost him his wits! darkness; the whole stage is filled from top to Wallala! Wallaleialala! bottom with black waving waters which for some Fricka (shakes him) Loveliest Niblung, (They laugh with the wildest bravado.) time seem to go on sinking.) Up from your dreams share in our joy. Alberich (reaches the summit of the rock with one of flattering deceit! In the golden radiance, My husband, wake and consider! last bound ) Scene 2 how handsome you seem! 8 Still not afraid? Oh, come, lovely one, laugh and be glad! Then laugh in the darkness, The waves are gradually transformed into clouds, Wotan (wakes and raises himself a little; his eye is Heiajaheia! Heiajaheia! nymphs of the waves! which, as an increasingly brighter dawn light passes at once attracted by the sight of the castle) Wallalalala leiajahei! (He stretches out his hand towards the gold.) behind them, resolve into fine mist. When the mist Completed, the eternal work! Your light yields to my hand; has completely vanished aloft in gentle little clouds, On mountain summits (They swim up and down in the brightness, I’ll seize from the rock your gold, in the dawning light an the gods will rule! laughing.) forge that magical ring; Proudly rise Open space on a mountain height those glittering walls Alberich (his eyes fixed on the gold, has listened now hear me, you floods: Love, I curse you for ever! which in dreams I designed, attentively to the sisters’ chatter) becomes visible. The daybreak illuminates with which my will brought to life. 7 The world’s wealth (With terrible force, he tears the gold from the rock increasing brilliance a castle with gleaming Strong and lordly can be mine if I utter the curse? and hastily plunges down with it into the depths, battlements, which stands on a rocky summit in the see it shine; Though love be denied me, where he quickly disappears. Dense night suddenly background. Between this castle-crowned holy, glorious abode! yet cunning can bring me delight? descends everywhere. The maidens dive down after mountain-top and the foreground of the stage a (terribly loud ) the robber into the depths below.) deep valley is to be imagined, through which the Fricka Laugh if you will! Flosshilde Rhine flows. Wotan and, beside him, Fricka, both Though it delights you, the Niblung’s near to your toy! Capture the robber! asleep, are lying on a flowery bank at one side. The I am afraid! castle has become completely visible. You have your hall, (Furiously, he leaps across to the central rock and Wellgunde but I think of Freia! climbs up towards its summit with dreadful haste. Rescue the gold! Fricka (wakes; her eyes fall on the castle; she starts Can I believe you’ve forgotten The maidens separate with screams and swim Woglinde and Wellgunde in astonishment) the price you still have to pay? upwards in various directions.) Help us! 9 Wotan, my lord! Awaken! The work is finished,

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the giants must be paid; Fricka Wotan (serious) I need no one to help me; remember it, all that you owe! 10 For I wished you faithful and true; Recall the days when I wooed you, but to use the hate my thoughts were for my husband, Wotan when I for Fricka of foes to serve me, how to keep him beside me, I’ve not forgotten the bargain, paid the price of an eye. that needs guile and deceit; when far away to roam: the giants shall have their reward; Your scolding’s wide of the mark! then Loge’s the one for the deed. safe in our castle, for that proud race I worship women He said he’d think of a plan calm and contented, was subdued by my spear; much more than you’d like; to keep our Freia in safety; there I might keep you graved on its shaft and Freia, the fair one, so I rely on him now. in peaceful repose. the terms for the castle; I shall not yield; Fricka But you, when you planned it, it stands now – thank the giants such thoughts were far from my mind. And he leaves you alone! thought of war and arms alone: and forget what it will cost. Fricka (with anxious tension, looking off-stage) Here come the giants glory and might 11 Then shelter her now; seeking their pay, Fricka all that you cared for; defenceless, afraid, while Loge loiters afar! What carefree, frivolous lightness! you built it for storm and adventure, see how she runs here for help! Loveless, coldhearted folly! constructed a fort, not a home. Freia If I had known of your deal, Wotan (smiling) Freia (enters as if in hasty flight) Come here to me, my brothers, I might have stopped it in time; Wife, though you wish me Help me, sister! oh, help me and save me, but slyly you men confined in the castle, Shelter me, brother! now that Wotan abandons the weak! did your talking in secret, some freedom still you must grant me; On yonder mountain Oh, help me, Donner! and kept us women away, though I may stay Fasolt is threatening, Hear me, help me! alone you discussed with the giants. beside you, yet and now he’s coming to take me. Rescue Freia, my Froh! Then to your shame from our home I must rule all the world; Wotan Fricka you promised to give them wandering and change Let him come! The disgraceful men who betrayed you Freia, my beautiful sister; inspire my heart; Saw you not Loge? have all abandoned you now! oh, how pleased you were then! that sport I cannot relinquish! Nothing is sacred, Fricka (Fasolt and Fafner enter, both of gigantic stature, Fricka you harden your hearts, In that infamous rogue and armed with stout staves.) Ruthless, heartless, when you men lust for power! do you still give your trust? Fasolt scornful man! Much harm he’s done to the gods, 12 Soft sleep Wotan (calmly) for the vain delights of yet time and again you still use him. And is Fricka ruling the world, closed your eyes, free from reproach? you’d carelessly gamble away Wotan while we were working Remember, you begged for the hall! love and woman’s worth? Where simple truth serves, hard to build your hall. 144 145 CHAN 3054 BOOK.qxd 25/7/08 11:31 am Page 146

Working hard, Fasolt (utterly amazed, is for a moment speechless) Wotan knows how they are tended! day and night, What’s this now? Ha! How sly to take in earnest That golden fruit heavy stones Breaking your bonds? what as a joke we decided! given to her kinsmen we heaped up high, Betraying your word? The beautiful goddess, each day renews lofty towers, On your spear shaft, fair and bright, youth everlasting; gates and doors, see what is graved; what use can she be to you? pale and grey guard and keep will you dare to break your bargains? they’ll lose all their beauty, Fasolt your castle walls secure. wan and weak Fafner (scornfully) Mockery! There stands they will grow old, My trusting brother, What injustice! what you ordered, when that fruit is denied them. now you see his deceit? You who through beauty reign, shining bright And that’s why we’ll take her away! glittering, glorious race, in morning’s light: Fasolt like fools you yearned Wotan (aside) there’s your home; 13 God of light, for your towers of stone, Loge lingers long! we want our wage! light of spirit! pledged as pay for your hall Hear a giant’s advice, Fasolt woman’s beauty and grace. Wotan and learn to keep your word! Well, what shall it be? We dull ones toil away, You’ve earned your reward; What you are, Wotan see, with the sweat on our hands, what wages are you asking? you became by your bargains: Ask some other wage! a woman, as payment, and all your power Fasolt who, charming and fair, Fasolt is contained in your bonds. The wage was fixed, might grace our poor dwelling; No other: Freia alone! Since you are wise, our bargain was made; and you say all was a joke? we giants were bound; Fafner have you so soon forgot? You there! Come with us! Freia, the fair one, freely we promised Fafner Holda, the free one – to keep the peace; Stop your foolish chatter, (They make towards Freia. Donner and Froh rush your hall is built – yet I shall curse your wisdom, the maid’s not what we want. in.) and Freia is ours. war, not peace, shall reward you Freia’s charms if you don’t fairly, mean nothing, Freia (fleeing) Help! Help from these hard ones! Wotan (quickly) frankly uphold but we gain Plainly your work the terms of the bargain you swore! as soon as the gods have lost her. Froh (clasping Freia in his arms) has blinded your wits. This simple giant Golden apples 14 To me, Freia! Ask some other wage; speaks his mind: ripen within her garden; Back from her, giant! Freia cannot be sold. you, wise one, learn now from him! she alone Froh shields the fair one!

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Donner (placing himself in front of the two giants) Fricka it’s firmly made, what never was, Fasolt and Fafner, Is this your resolve, safe and secure: who’d ever make such a promise? know you the weight merciless man? Fasolt and Fafner, of my hammer’s heavy blow? excellent work! Fricka (to Wotan) Wotan (turns round and sees Loge approaching) No stone stirs on its bed. That’s the knave Fafner There is Loge! So I wasn’t lazy, whom you thought you could trust! What is this threat? Where have you been, like others here; you who assured me Froh Fasolt he lies, who says that I was! Loge, hear me, What brings you here? that I’d escape from this contract? Wotan your name should be Liar! We’ve not come to fight, Loge (has climbed up from the valley in the Don’t try but all we want is our pay. background ) to escape from the point! Donner 2 What? How am I Donner If you betray me, Accursed Loge, concerned in a contract? And I know if you have tricked me, beware! I’ll quench your flame! You mean that agreement how giants should be paid. Recall that I you have made with these giants? Loge Come here, receive your wage, am your only friend, I roam through the whole wide To conceal his blunders weighed with a generous hand. I took your part world as I please: every fool blames me! when the other gods were unkind. (He swings the hammer.) I’m not held So speak, I need your help! by house or home. (Donner attacks Loge.) Wotan (stretching out his spear between the When first those giants made terms Donner and Froh disputants) and asked Freia as payment, Wotan (intervening) are dreaming of household joys! Back, you wild one! you know I only Now cease reviling my friend! If they would wed, Force will not serve! gave my consent You know not Loge’s ways: a house first they must own. because you promised you’d find his advice And castle walls, COMPACT DISC TWO something else that they’d rather have. is worth all the more, and lofty halls, when we wait on his words. Wotan they were what Wotan craved. Loge 1 This bond is graved Lofty halls, I merely promised Fafner on my spear’s strong shaft: castle walls, I’d consider Wait no longer! spare them your hammer’s blow! a home for the gods, how we might save her, Pay our wage! Freia it stands here, strongly built. and that’s all I said. Help me! Help me! I inspected all But to discover Fasolt Wotan forsakes me! the place myself; what can’t be found, Come, no more delay!

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Wotan (turning sharply to Loge, urgently) they laughed at me Wotan lurk in that golden gleam; Speak out, stubborn one! when they heard what I asked: Are you mad, mighty powers Keep your word! in water, earth, and sky, or simply malicious! are his who can forge that ring. And tell me now where you’ve been. none would forego You know I am in need: Fricka (softly to Loge) the joys of love. how can I help someone else? Could a woman use Loge 4 But one I found then Fasolt (who has been listening attentively, to Fafner) the golden ring 3 Never one word who scorned the delights of love, That gold I begrudge to Alberich; for herself of praise or thanks! who valued gold we’ve suffered much from the Niblung, and wear it to charm her lord? For your sake alone, more dearly than woman’s grace. and yet that crafty dwarf hoping to help, The fair and shining Rhinemaids Loge has always slipped through our hands. I restlessly roamed came to me with their tale: No husband dare to the ends of the earth, the Nibelung dwarf, Fafner be false to his wife to find a ransom for Freia, Alberich, We shall suffer when she commands one that the giants would like more. begged for their favours, more in the future, that glittering wealth, In vain sought I but he begged them in vain; now he’s gained the gold. that busy dwarves are forging, and now I can see: the Rhinegold You there, Loge! ruled by the power of the ring. in this whole wide world he tore in revenge from their rock; Tell me the truth; Fricka (cajolingly, to Wotan) nothing at all and now he holds it what glory lies in the gold, Oh, how can my husband is of greater worth to a man dearer than love, that the Niblung holds so dear? win us the gold? than woman’s beauty and love! greater than woman’s grace. (All express astonishment and diverse forms of For their glittering toy, Loge Wotan (as if in a state of increasing enchantment) 6 7 bewilderment.) thus torn from the deep, A toy, while And I should possess it! I asked every one living, the maidens are sadly mourning: it was in the waters, Soon this ring should be Wotan’s. in water, earth, and sky, return, Wotan, lighting the Rhinemaidens’ games; But say, Loge, one question, in anguish, you, but when as a shining what is the art sought for the answer for they ask that you will avenge them; ring it is fashioned, by which the gold can be forged? helped by its magic power, and all whom I met, the gold, they pray Loge its owner conquers the world. I asked them this question: that you’ll restore it, A magic spell What in this world to shine in the waters for ever. Wotan (reflectively) will change the gold to a ring. means more to you 5 So I promised I have heard men tell No one knows it, than woman’s beauty and love? I’d tell you the story: of the Rhinegold: but he can use the spell But wherever life was stirring and that’s what Loge has done. charms of riches who only love forswears.

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(Wotan turns away in ill-humour.) what he has stolen, we will take less (All the gods stand in shocked amazement.) Could you do that? so be skilful, swift and shrewd for our payment: Fafner Too late, in any case, if you’d please the Rhinemaids, for us rude giants, enough We shall take Alberich did not delay; and then restore is Nibelheim’s shining gold. Freia with us! he cursed and mastered their gold, back to the waters; Wotan Till evening, mark me well, the magic spell; they yearn and long for their gold. Have you gone mad? she remains in our hands; and he is lord of the ring! Wotan For how can I give you then we’ll come back here; Donner (to Wotan) To please the Rhinemaids? what is not mine, as your payment? but when we come, We shall all That’s not what I plan! Fafner if we don’t find what we’ve asked for, be slaves to the dwarf the Rhinegold heaped on high – Fricka Hard labour unless the ring can be captured. Leave that watery brood built you those walls; Fasolt Wotan weeping and wailing; your cunning – our truce then is over, The ring, I must have it! to my distress can lightly achieve Freia is forfeit: many a man what has proved too hard for our strength: for ever she stays with us! Froh to capture the Niblung foe. Easily done they’ve lured by their charms to the Rhine. Freia (screaming) now that love you need not renounce. (Wotan is struggling silently with himself. The other Wotan Sister! Brother! gods, tense and silent, fix their eyes on him. For you I must Save me! Help! Loge deal with the Niblung? Child’s play! Meanwhile, to one side, Fafner has quietly been (She is dragged away by the hastily departing giants.) conferring with Fasolt.) For you, capture the foe? At a stroke you can make it yours! Unashamed, you dare Froh Wotan (harshly) Fafner (to Fasolt) to propose it, On, to her aid! Then tell me, how? Trust me, more than Freia stupid, insolent pair! we can gain from the gold: Donner Fasolt (suddenly seizes Freia and, with Fafner, Loge eternal youth can be ours, Everything’s ended! pulls her to one side) By theft! when we lay our hands on that gold. Come here, maid! (They look inquiringly at Wotan.) What a thief stole, (Fasolt’s demeanour suggests that he has been You’re in our power! Freia (from the distance) you steal from the thief: persuaded against his will. Fafner, with Fasolt, We’ll hold you as a hostage Save me! Help! you seize it and make it your own. returns to Wotan again.) till all has been paid! But you’ll need your wits 8 Hear, Wotan, Loge (gazing after the giants) fighting Alberich; I’ll speak my last word! Freia (crying out in dismay) 9 Over rock and stone they stride he’ll defend We will leave you with Freia; Save me! Save me! Woe! down to the vale;

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through the Rhine they forge ahead, Fricka so think how to escape! Wotan waddling and wading. Sorrow! Sorrow! Lacking the apples, Not through the Rhine! Sad at heart What can it mean? old and grey, Loge hangs Freia, Donner worn and weary, Then follow my steps while borne on the backs of those ruffians! My hand is weak! withered and scorned by the world, through this smoky cleft: Heia! Ha! Hei! the gods grow old and die. Froh and slip down there after me! They stumble and stride on their way! Fricka Now they’re through, climbing the slope. My heart is still! (He goes on in front and disappears sideways into a Wotan, my lord! crevice, from which a sulphurous steam at once They’ll not rest till they’ve reached Loge Unhappy man! 10 issues forth.) rough Riesenheim’s bounds. I see now! Hear what is wrong! See how your selfish (He turns to the gods.) Of Freia’s fruit folly has brought us Wotan Why is Wotan brooding and sad? you’ve not yet eaten today. sore disgrace and shame! You others wait Alas, what’s troubling the gods? The golden apples till evening falls: Wotan (starts up with sudden resolve) (A pale mist, with growing density, fills the scene: it that grow in her garden, the youth we’re losing 11 Come, Loge, gives the gods an increasingly wan and aged they kept you so vigorous and young, I’ll buy back again with the gold! appearance: fearful and expectant they all stand eating them every day. descend with me! gazing at Wotan, whose eyes are fixed thoughtfully But she who tended them To Nibelheim we’ll go together: (He descends through the crevice after Loge. The on the ground.) now is a hostage; and there I’ll win me the gold. sulphurous steam emerging from it spreads across Mists, d’you deceive me? on the branches droops Loge the entire stage and quickly fills it with thick Is this a dream? and dies the fruit: The Rhinemaidens clouds. The remaining gods are already invisible.) How grey you’ve grown, it rots, falls to the ground. called for your help: Donner so weary and weak! To me it’s nothing; so will you return them their treasure? Fare you well, Wotan! From your cheeks the bloom dies out; because to Loge the flash from your eyes fades away! Freia was mean; Wotan Froh Come, my Froh! I never tasted her fruit: Stop your chatter! Good luck! Good luck! Day is still young! Freia, the fair one, so I’m not god-like, Fricka From your hand, Donner, Freia has to be rescued! I’m not so glorious as you! And soon return you’re dropping the hammer! Loge But you staked your future to your sorrowing wife! What’s wrong with Fricka? on that youth-giving fruit; As you command, Can she be mourning the giants knew that all too well; down we shall go. (The sulphurous vapour darkens into completely that Wotan, gloomy and grey, and at your lives Choose your way: black cloud which rises from below to above.This is should seem so suddenly old? this blow has been aimed; shall we descend through the Rhine? then transformed into a hard, rocky crevice, moving

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continually upwards so as to give the impression Alberich (letting him go) The helm fits on my head: your invisible lord, that the stage is sinking ever deeper into the earth. Then why did you wait? now will the spell do its work? who can watch you unseen A growing clamour, as of forging, is audible from I want it now! ‘Night and darkness, and spy on his subjects! all sides.) fade from sight!’ You are my slaves now for ever! Mime (His form disappears. In its place is seen a column Hoho! Hoho! I wasn’t certain Scene 3 of mist.) Hear me, I’m near: of every detail. A dark red light glows distantly from several sides. Where am I, brother? the Niblungs’ great lord! Alberich Mime (looks around in puzzlement) A subterranean cavern And what is not finished? (The column of mist disappears towards the back. Where are you? You’ve gone from my sight. Alberich’s raging and scolding are heard from an stretching farther than the eye can see, becomes Mime (embarrassed ) Alberich (invisible) ever greater distance. Screams and cries answer visible. It seems to open on every side into narrow Here – and there – Then feel me instead, him, from farther and farther away, until at shafts. Alberich tugs Mime, who is screeching, by last they are inaudible. Mime has cowed down Alberich you lazy rogue! the ear out of a shaft to one side. with pain. Wotan and Loge descend through a What ‘here’ and ‘there’? I’ll teach you to steal from me! crevice.) Alberich Give me the thing! 12 Mime (screams, and writhes under the blows of a Hehe! Hehe! (He makes for Mime’s ear again. In his terror Come here! Come here! scourge, whose strokes can be heard, though it is Loge Mime lets fall a piece of metalwork which he was 14 invisible) Nibelheim here. Treacherous imp! clutching tightly in his hands. Alberich rapidly Ohe! Ohe! The murky darkness You will be pinched, picks it up and examines it closely.) painfully pricked Ow! Ow! Ow! is broken by fiery flashes! 13 Ha, you rogue! if it’s not ready, Everything’s perfect Alberich (laughing, invisible) Mime flawlessly forged, and carefully forged, Hahahahahaha! Ow! Ow! Ow! that helm I told you to make! just as I asked! I thank you, brother! Wotan Mime (howling) But maybe the fool Your work was true and good. But what’s that groan? Ohe! Ohe! thought he could trick me, Hoho! Hoho! Who lies at our feet? Ow! Ow! and keep this wonderful Niblungs below, Leave me alone! work for himself, bow down to Alberich! Loge (bends over Mime) All’s been done, work which my cunning I shall be watching What have we whimpering here? just as you asked; had taught him to forge! to see that you’re working; I toiled away, Villain, do I read your mind? day and night Mime finished the work. (He puts the metalwork on his head, as a you must be toiling, Ohe! Ohe! Only stop twisting my ear! ‘Tarnhelm’.) sweating to serve Ow! Ow!

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Loge forged for our women, that I forged so well; Loge (to Wotan) Hei, Mime! Cheerful dwarf! trinkets and jewels, I thought I’d keep Admit, your task And what’s the trouble with you? delicate Nibelung toys; one thing for myself, may well be hard. we merrily hammered away. and use the spell Mime But now he compels us to free me from Alberich's power; Wotan Leave me in quiet! to creep through the mineshafts, perhaps, yes, perhaps, We’ll succeed at last, Loge for him alone the tyrant himself could be conquered; thanks to your wits. That I’ll do gladly. we sweat and we slave. by using the helm I might catch him; Mime (perplexed by the gods’ laughter, observes them Not just that, but And the golden ring that ring, could I but seize it, more closely) help I’ll offer you, Mime! has magical power when, though I’m forced now to serve him, But why all these questions? to show where the treasure when free, I could make him my slave! Who are you, you strangers? (With difficulty, he sets him on his feet.) lies hid in the rocks; Loge Mime then we must mine it, Loge Your plan was clever; 15 What help for me? forge and refine it Friends to you; why did it fail? I must obey and smelt the ore down we can set free the commands of my brother, to pure, shining gold; Mime the suffering Nibelung folk. for he has made me his slave. so by day and night Ah! When the helm was finished, we serve the greed of our lord. Mime (shrinks back in terror as he hears Alberich Loge the magic that makes it work, approaching) But, Mime, what gave him Loge that magic I could not guess right: 16 Better take care! the power to command? And you were so idle then he seized the helm Alberich’s near. that you were whipped? and spoke the charm; Mime he showed me – alas, Wotan The Rhine’s bright gold, Mime I learnt it too late – We’ll wait for him here. seized by Alberich, Poor Mime, ah, mighty spells lay in that helm. was shaped and forged my fate was the hardest. From my sight he vanished; (He seats himself calmly on a stone. Loge leans at to a shining ring: A magic helm and out of the darkness his side. Alberich, brandishing a whip, enters, at its magic spell I had to make him; dealt invisible blows. driving a team of Nibelungs in front of him out of the Nibelungs tremble; he gave me detailed, And that’s all the thanks a cavern lying farther below. He has removed the that ring makes him our master; careful instruction. my work has won! Tarnhelm from his head and hung it from his belt. we Niblungs are now his slaves. And so I guessed The Nibelungs are laden with golden and silver Once we were carefree, some wondrous spell (He rubs his back. Wotan and Loge work, which, under Alberich’s constant supervision, worked at our anvils, must lie in the work laugh.) they pile up in a heap.)

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Alberich or else he shall find Loge Loge Hither! Thither! that my whip rewards him. Well, if you know, You’ve grown Hehe! Hoho! I’ll be everywhere, spying impudent dwarf, so daring and bold? Lazy herd! where no one expects; then say, who am I? Have you gained Pile the gold, ask Mime; he can explain! Why do you bark? such mighty power? there in a heap! Off to your work! In chilly caves You there, get up! Lingering still? you shivered and froze; Alberich On with your work! (He draws the ring from his finger, kisses it, and who gave you light See all the gold Indolent dogs! holds it out threateningly.) and who lit your fires then? that my slaves Stack up the treasure! Tremble in terror, Was Loge not once your friend? heaped over there? Want me to help you? you wretched slaves: What use are your forges Loge There in a heap! and obey until they are heated by me? I’ve never seen so much before. (He is suddenly aware of Wotan and Loge.) the ring’s great lord! I am your kinsman Hey, who is there? (With howling and shrieking the Nibelungs, Mime and once was kind: Alberich Who’s broken in? among them, scatter and scuttle away into the for that you owe me your thanks! That’s just today’s; Mime, come here! shafts. Alberich gives a long, suspicious look at the merest trifle: Alberich Pestilent imp, Wotan and Loge.) in the future The gods have chattering away 17 What brought you here? it will tower far more grandly. befriended Loge, with that scoundrely pair? that crafty rogue: Wotan Off, you idler! Wotan are you, schemer, their friend, But what’s the use of your wealth? Back to your welding and whining! Of Nibelheim’s dusky land as my friend once you were? In joyless Nibelheim, (He drives Mime with blows of his whip into the we’ve heard a most marvellous tale: Haha! I laugh! with gold there’s nothing to buy! crowd of Nibelungs.) mighty works In that case, what need I fear. Hey! To your labour! achieved here by Alberich; Alberich Back to the forges. and, eager to see them, Loge Gold can be mined here, Back to the mines! we arrive as your guests. And so, instead, you can trust. and gold can be stored here, From the new-dug shafts deep in Nibelheim’s caves. go fetch me more gold! Alberich Alberich Then with my wealth And if you’re lazy Attracted by I can trust your untruth, from the darkness I’ll rise, you shall be whipped. Nibelheim’s gold: never your truth! rise and be master of all things; Let no one be idle; I know (assuming a defiant attitude) the whole wide world Mime will watch you the sort of guests that you are! Yet today I can defy you! I’ll buy for myself with the treasure.

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Wotan Wotan (vehemently) You give me a warning Loge My good Niblung, how would you start? No more, impious wretch! and hope I’ll beg Show me a proof, for your advice. and then I’ll believe your boast. Alberich Alberich Well, I do not need your help! 18 Alberich In the clouds, you great ones What says he? This magical helm, You’re puffed up with prudence far above us may live, invented by me, Loge (stepping between them; to Wotan) and pride till you’re bursting! laugh, and love. was skilfully forged. Try to be patient! Well, envy me now! My golden grasp Mime made it to guard me. (to Alberich) Command, and tell me what shape will seize on you gods and destroy you! 19 It can transform me; All must stand in amazement, you would like me to be! Once I renounced all joys of love. beholding Alberich’s work! I can assume All those who live, If only your craft can achieve any shape that I wish for, Loge all shall renounce them! all that you plan with your treasure, through this helm. Oh, choose for yourself, Enchanted by gold, then all would acclaim you as master: None can see me, but make me dumb with surprise! your greed for gold shall enslave you! search as he will; the moon and stars Alberich (has put on the Tarnhelm) On glorious heights and the sun in his splendour, invisible master you gods live in gladness, and all-seeing lord! ‘Dragon dread, how could they not obey you, curling and coiling!’ lulled by ease, serve you, bow to your will? So I’m protected; despising those But, most of all, it’s important even from you I am safe, who work below, sure you’re eternal! that your army of workers, my kind, provident friend! COMPACT DISC THREE Beware! Beware! your Nibelung slaves, For first your men Loge (He disappears instantly. In his place an enormous never should rebel! Many marvels shall yield to my might, By your ring you can command; dragon writhes on the ground; it rises up and then your lovely women, I have encountered, stretches its open jaws at Wotan and Loge.) your people trembled in fear. but such a marvel who despise me and jeer, But, while you sleep, shall grant to Alberich’s force is new to me. Loge (pretends to be seized with terror) a thief might approach; 1 what love could not win! This work without equal – Ohe! Ohe! the ring he’d steal from your hand: I don’t believe it! Terrible dragon, Hahahaha! so guard yourself, wise one, from that! You have been warned! If you could work this wonder, have mercy on me! Beware! Alberich then your power’d be everlasting! Spare my life, do not eat me! Beware of my armies of night, So no one is wise like Loge? Alberich Wotan beware the day when the Niblung’s gold He can see where I do not lie Hahaha! Good, Alberich! shall vanquish the world! others are blind? or boast like Loge. Good, you rascal!

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Your change from dwarf (He puts on the Tarnhelm again.) forging. There is continual upward motion. Finally, I have you now at my mercy! to dragon was skilful and swift! ‘Tiny toad, there reappears the So if you’d be free, creeping and crawling!’ then pay for your freedom. (The dragon disappears. In its place, Alberich Open space on a mountain height reappears in his own form.) Alberich (He disappears; the gods perceive a toad on the as in the second scene; but now it is still veiled in I was blind Alberich rocks, creeping towards them.) thin mist, as at the end of Scene 2, after Freia’s and lost in my dreams! Hehe! You doubters! abduction. Wotan and Loge, bringing Alberich, Loge (to Wotan) A fool, caught by Now d’you believe? bound, with them, climb up out of the crevice. There, the toad! that cowardly trick! Loge Capture it quick! Loge I shall have vengeance, My trembling proves it too clearly! (Wotan puts his foot on the toad. Loge catches it by 3 There, Alberich, cruel and keen! A giant dragon the head and holds the Tarnhelm in his hand.) sit on your throne! rose in your place; Look around you, Loge now that I’ve seen, Alberich (suddenly becomes visible in his true there lies the world Well, dream of your vengeance, how can I not believe you? form, writhing under Wotan’s foot) that you thought you would rule as your own: but first, set yourself free: You can grow larger – Ohe! Ohe! what place for me when a man’s a captive, can you be tiny, Now they have caught me! has been reserved in your realm? no one cares if he curses. a little creature: Still planning your vengeance? Loge (He dances round him, snapping his fingers.) Better think quickly, the safest way I know Hold him tight, Alberich think of the ransom we need! to hide yourself from your foes? till he is bound. Infamous schemer! That, maybe, that would be hard? (He has brought out a rope, and with it he binds Alberich You knave! You thief! Alberich hand and foot; then both seize the captive, Then say what you demand. Alberich Loosen my bonds, who tries furiously to defend himself, and drag him Too hard for you, let me go free Wotan with them to the crevice down which they came.) ignorant fool! or else for your crime you will suffer! The gold, all your shining gold. How small shall I be? 2 Now swiftly up! He is our prisoner! Wotan Alberich Loge You’re now my captive, (They disappear, climbing upwards.) Greedy and criminal pair! So the smallest chink could conceal you, bound in my fetters, (aside) where a frightened toad could be hid. you, who declared Scene 4 But so long as I keep the ring, Alberich you’d bind the world, the rest can be given away; Pah! That’s easy! The scene changes as before, but in the opposite and lay it in chains before you; I can quickly replace it Look at me now! direction. The transformation again leads past the my captive, bound at my feet. again and again

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by commanding the powerful ring. Put it down there, that crafty foes are not mine more truly Now a lesson I’ve learnt, as I command! should capture my cunning defence! than mine this golden ring! and wiser I’ll be; In a heap Well then! Alberich’s Wotan the warning is cheap at the price, pile up the gold! paid his ransom; What right have you to the ring? though it has cost me so much gold. Want me to help you? untie, you tyrants, my bonds! Insolent, impudent Niblung! No, don’t look at me! Loge (to Wotan) Tell me now, Wotan Hurry! Quick! Are you contented? where did you get the gold You’ll give me the gold? Then back to your labour! Can he go free? from which you created the ring? Off to the mines! Alberich Did you own it, Off to the forges! Wotan Loosen my hand; when you grasped it, Idlers, back to your work! A golden ring I’ll summon it here. the Rhinemaids’ radiant toy? For your lord comes hard on your heels! shines on your finger: (Loge unties the rope from his right hand. Alberich Let those Rhinemaids answer: (He kisses his ring and stretches it out well, my dwarf, puts the ring to his lips and secretly murmurs a will they declare commandingly. As if struck by a blow, the that also is part of the price. command.) that they gave you 4 Nibelungs hurry in fear and trembling to the And now the Niblungs their gold as a present, crevice and quickly scuttle down it.) Alberich (appalled ) will come to my call, The ring? or did you seize it by theft? for their lord commands them; 5 The gold lies there; up from the depths now let me go: Wotan Alberich of the darkness they’ll bring you the gold: and the Tarnhelm there, To win your freedom Infamous schemer! so now set me free from my bonds! which Loge still holds, you’ll have to yield it. Shameful deceit! now kindly return it to me! Thief, you blame me Wotan Alberich (trembling) for doing that crime Loge (throwing the Tarnhlem on to the hoard ) Not yet, till all has been paid. My life, but not the ring! which you were burning to do! The Tarnhelm is part of the ransom. (The Nibelungs climb up out of the crevice, laden Wotan (more violently) Though you lusted with the treasures of the hoard. During what Alberich The ring surrender: to steal the gold for yourself, follows, they pile up the treasure.) Accursed thief! with your life, do what you will! you’ll never pay Yet, wait a while! the price that alone would suffice. Alberich He who forged me the first Alberich It serves you well, O shameful disgrace! can make me another. But if my life is spared me, you smooth, sneering rogue, That my shrinking servants I still hold the power the ring must stay on my finger; that the Niblung, I, should see me bound like a slave! that Mime obeys. hand and head, in shameful distress, (to the Nibelungs) Yet it’s sad eye and ear in a frenzied outburst,

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did win for myself, by a curse, Loge It will bring no gain to its lord; (Through the mists, which continue to disperse, this gold that smiles on you now! Can he be freed? only death is brought by its gleam! Donner, Froh and Fricka emerge and hasten And my sacrifice, Wotan To death he is fated, towards the foreground.) all I suffered, doomed by the curse on the ring: Set him free! Froh my criminal, and while he lives, So you have returned! curse-laden deed – Loge (frees Alberich from his bonds) fears will fill all his days. have they merely served Slip away home! Who owns the ring Donner to procure you a plaything? Not a fetter holds you: to the ring’s a slave, Be welcome, brother! free, Alberich, free! Will you win the world by my curse? till the gold returns Fricka (to Wotan, anxiously) Guard yourself, Alberich (raising himself ) to this hand from which you have torn it! Have you gained the ransom? proud, cruel god! 6 Am I now free? In anguish If I have sinned, Truly free? and sore distress, Loge (points to the treasure) I sinned but against myself; I greet you then the Niblung blesses the ring! By cunning and force but against all that was, in my freedom: mark my words! You hold it now; the deed was done: is, and shall be, Since a curse gained it for me, guard it with care! behold, here’s Freia’s price. you are planning a crime my curse lies on this ring! From my curse you can’t escape! Donner by laying your hand on the ring! Though its gold (He disappears quickly into the crevice. The thick From the giant’s power brought riches to me, Wotan mists in the foreground gradually clear.) soon we can free her. Yield the ring! let now it bring but death, death to its lord! Loge Froh No chatter can prove How sweetly the air your right to the ring! Its wealth shall yield Did you hear pleasure to none; Alberich’s loving song? charms us again; (He seizes Alberich and violently tears the ring from let no fortunate owner joy and contentment his finger.) enjoy its gleam. Wotan (lost in contemplation of the ring on his steal through my heart! finger) Life indeed would be wretched Alberich (with a terrible cry) Care shall consume the man who commands it, Let him give way to his wrath! if we were parted from her; Ha! Defeated! And tricked! she brings us youth eternal, Of wretches, the wretchedest slave! and mortal envy (It continues to get lighter.) consume those who don’t, fills us with joy and delight. Wotan (contemplating the ring) striving vainly Loge (looking off-stage to the right) (The foreground is now completely clear again. The It shines there, lifts me on high, to win that prize! 7 Fasolt and Fafner appearances of the gods have regained their pristine of mighty ones, mightiest of all! And he who obtains it come this way: freshness. The veil of mist still hovers over the (He puts on the ring.) shall find no joy! Freia soon shall be freed. background, however, so that the castle remains

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invisible. Fasolt and Fafner enter, bringing Freia Wotan Loge Fafner between them.) Then heap the gold Stand back, you ruffian! Patience, Donner! Fricka (hurries joyfully to her sister, to embrace her) till Freia is hid. Roar where it helps, Fafner but here you thunder in vain! Loveliest sister! (The two giants place Freia in the middle. Then Look here! Sweetest delight! they thrust their staves in the ground on each side of Donner (preparing to strike) Now once again I can greet you. Freia, so as to measure her height and breadth.) Loge Not in vain, since it can crush you! Fasolt (restraining her) Fafner Off with your hands! Wotan 8 Wait! Don’t touch her yet! We’ve planted our poles here Fafner Patience, friend! Freia still is ours. to frame her form; I think that Freia is hid! On Riesenheim’s And here! This crack must be closed! now heap your gold to her height! Loge far rocky heights, Wotan (turning away in dejection) there we did rest; Wotan The gold runs out. On with the work: Deep in my breast we guarded her burns the disgrace! Fafner (measures the treasure closely with his eye, and we kept our word oh, this is shameful! looking for crevices) faithfully. Loge Fricka (her eyes fixed on Freia) But still I can see her hair! Though sore at heart, Help me, Froh! See where she stands; You have some gold, I now return her; how can she bear this shame? add it to the pile! Froh so keep your bargain For a glorious maid Freia’s shame Loge and pay our wage. pleads in silence for help. soon shall be ended. What? Not the helm? Wotan Heartless man! Behold, there’s the ransom: (Loge and Froh quickly pile up the treasure between For you she endures this disgrace! Fafner the golden heap the staves.) Quickly, give it us. will reward you most generously. Fafner Fafner Still more! Heap on some more! Wotan Fasolt 9 Far too loose Give them the Tarnhelm! To lose the woman you’re piling the gold. Donner Loge (throws the Tarnhelm on the pile) sorely distresses my heart. (Roughly, he presses the treasure together tightly.) I’ll stand no more; At last we have finished! If I am forced to forget her, Firm and hard, furious rage Are you contented? you must pile the gold, pack it up tight! rouses my heart to revenge! heap up the hoard, (He stoops down to look for crevices.) Come here, you cur! Fasolt till you conceal Look, here is a chink: If you’d measure, 10 Freia, the fair one, her beauty and charms from my sight. and stop up this crevice! then try your measure with me! see I no more:

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the ransom is paid? Wotan Froh the endless world’s Fasolt must lose her? What chatter is this? Pay them the ransom! all-wise one, (He goes up close and peers through the pile.) This prize which I have won me, Erda, bids you beware. Donner Ah! Her glance without fear I’ll keep for myself! My three daughters, Give them the ring, too! still pierces my heart; born in Erda’s Loge her eyes like stars (Fafner restrains Fasolt, who is making off. All primeval womb, But then how will I shine on me still, stand stunned.) shape my visions, keep the promise for through this crack tell you each night of the future. I gave those sorrowful maids? I look on their light. Wotan Today I myself, I cannot turn from this maiden, Wotan Leave me in peace! drawn by dread, while her eyes inspire me with love. What you promised’s nothing to me: The ring stays with me! come to advise. I took the ring for myself. Fafner (Wotan turns angrily away. The stage has again Hear me! Hear me! Hear me! Hey! I charge you, Fafner become dark. A bluish light breaks forth from the All things that are, perish! now stop up this crevice! And now you’ll yield it, rocky cleft at the side. In it Erda suddenly appears, An evil day paying the ransom. rising from below to half her height. Her noble for the immortals: Loge features are ringed by a mass of black hair.) I warn you, yield up the ring! Never contented! Wotan Surely you see Freely ask what you want: Erda (commandingly stretching out her hand to (Erda sinks slowly to breast level, as the bluish light our gold’s at an end? all I shall grant you; Wotan) begins to fade.) but for the world 11 Yield it, Wotan, yield it! Fafner Wotan I will not surrender the ring! Yield the accursed ring! Not wholly, friend! Mysterious doom Wretchedness, On Wotan’s finger Fasolt (angrily pulling Freia out from behind sounds in your words: doom and disaster gleams the gold of a ring, the pile) stay here, and warn me further! and that will fill up this crevice! Keep your gold, lie there in the ring. Erda (disappearing) and keep your ring; Wotan Wotan You heard my words; and we’ll keep Freia for ever! Who brings this warning of doom? What? Give my ring? you know enough: Freia Loge Erda brood in dread and fear! Just a moment! Help me! Help me! All of the past, know I; (She disappears completely.) The Rhinemaidens Fricka all things that are, must have that gold, Cruel god! all things that shall be, Wotan and to them Wotan will give it. Do what they ask! all I know: But if dread will torment me,

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then I must hold you; (He throws the ring on the pile. The giants release Loge (to Fasolt) Loge all you must tell me! Freia. She hurries happily over to the gods, who Let him keep the treasure; 14 Your luck, Wotan, (He tries to follow and stop her as she disappears spend some time embracing her in turn with the all that you need is the ring! what could surpass it? utmost delight. Fafner at once spreads out an Much you gained from into the crevice. Froh and Fricka throw themselves Fasolt (hurls himself upon Fafner, who has been enormous sack and stands over the pile, ready to the ring and the gold; towards him and hold him back.) busily packing away) stow it away.) but that now you have lost them, Stand back, you robber! Fricka that’s better still: Mine is the ring; Be careful, calm yourself! Fasolt (throwing himself at his brother) for your enemies, see, I won it for Freia’s glance! Froh 13 Stop, you greedy one! murder each other Be wise, Wotan! What about my share? (He snatches hastily at the ring. They struggle.) for the gold that you let go. Erda is holy, Fairly and squarely Fafner Wotan (profoundly shaken) do as she says! we’ll divide it. Off with your hands! Dark forebodings oppress me! (Wotan gazes thoughtfully before him.) Fafner The ring is mine! Fear and dread seize on my soul. Donner (turning decisively to the giants) You’d set your heart on the maid. (Fasolt wrests the ring from Fafner.) 12 Hear, you giants! What do you care for the gold? Erda can teach me Come back, be patient! You hoped for love Fasolt how I can end them: The gold, Wotan will give you. and I wanted riches; I have it, I shall keep it! to her, I must descend! Freia if you had won her, Fafner (striking out at Fasolt with his staff ) Fricka (caressing him, cajolingly) Ah, dare I hope it? would you have shared her with me? Hold it fast, else it may fall! What keeps you, Wotan? Is your Freia Since it’s the gold, (He strikes Fasolt to the ground with a single blow, See where our home worth such a great reward? trust me to seize then wrenches the ring quickly from the dying awaits you there, on the greater part for myself! (All look anxiously at Wotan. After thinking deeply, giant.) shining and glorious, he rouses himself, seizes his spear and brandishes it Now dream of your Freia’s glance! glad to welcome its lord. Fasolt For the ring you’ll see no more! as the sign of a bold decision.) Shame on you, thief! Wotan (gloomily) Wotan Mocking me so! (He puts the ring in the sack, and then calmly An evil wage To me, Freia! You gods be the judges: packs up the rest of the treasure. All the gods are paid for the work! appalled. A long, solemn silence.) You shall be freed. how should this gold Donner (pointing to the background, which is still Bought with the gold, be shared into two? Wotan enveloped in mists) bring us our youth once again! Fearful power 15 Sweltering mists You giants, there is your ring! (Wotan turns contemptuously away.) lies hid in that fatal curse! hang in the air;

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we’re oppressed evening sun. Fafner has at last collected up all the (He turns solemnly to Fricka.) (He goes nonchalantly to join the gods. From deep by their gloomy weight. treasure lying near his brother’s corpse, put the Follow me, wife: below, the singing of the Rhinemaidens is heard I’ll gather the clouds, enormous sack on his back, and left the stage in Walhall, reign there with me! rising up.) summon the lightning and thunder during Donner’s conjuration of the thunderstorm.) Fricka Woglinde, Wellgunde and Flosshilde (in the to sweep the mist from the sky! Froh (to the gods, indicating with outstretched What name did you call it? depths of the valley, invisible) (He climbs onto a high rock by the precipice and No name that I’ve ever heard of. 18 Rhinegold! Rhinegold! there swings his hammer. Mists gather around him.) hand the way, over the bridge, across the valley) 16 Wotan Shining gold! Heda! Heda! Hedo! The bridge leads you homeward, light, yet firm to your feet: When all that I dreamed How brightly and clear Now come to my call! and planned comes to pass, glittered your beams on us! You vapours, to me! so boldly tread on that shining path! then victory is mine, For your true radiance Donner, your lord, you’ll understand that name! we are mourning; summons you here! (Wotan and the other gods are lost, speechless, at the (He takes Fricka by the hand and with her strides give us the gold! As my hammer swings, glorious sight.) Oh, give us its glory again! sweep from the sky: slowly towards the bridge. Froh, Freia and Donner vapours and cloud, Wotan follow.) Wotan (in the act of setting foot on the bridge, wandering fog! 17 Evening rays flood Loge (remaining in the foreground and glancing pauses and turns round ) Donner, your lord, summons you here! the sky with splendour; after the gods) What cries arise from the deep? Heda! Heda! Hedo! those glorious beams They are hastening on to their end, Loge (peering down into the valley) (Donner vanishes completely behind a thundercloud shine there on my hall. though they think they are great in their grandeur. The mournful Rhinemaidens which grows ever thicker and blacker. His hammer- In the morning radiance Ashamed I’d be cry for their stolen gold. bravely it glistened, to share in their dealings; blow is heard striking hard on the rock. A large Wotan standing masterless, I feel temptation flash of lightning shoots from the cloud, followed by Accursed nixies! proud, awaiting its lord. to turn and destroy them, a violent clap of thunder. Froh has vanished with Stop their tiresome lament! him into the cloud.) From morning till evening, change to flickering fire, in fear and dread and burn those great ones Loge (calling down into the valley) Donner (invisible) I worked dark deeds till I’d gained it! who thought I was tamed, You in the water, Brother, to me! The night is near: rather than blindly stop wailing to us! Show them the bridge to the hall. from all its ills sink with the blind, Hear what Wotan decrees! (Suddenly the clouds lift. Donner and Froh are we have our refuge now. unworthy the godliest of gods! Never more visible. From their feet a rainbow bridge of (very resolutely, as if seized by a grand thought) I think that might be best! will you see your gold; blinding radiance stretches across the valley back to So greet I the hall, I must consider: let the gods’ new golden splendour the castle, which now glows in the rays of the safe from all fear and dread. who knows what I’ll do? shine upon you instead!

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(The gods laugh and then stride on to the bridge.) Goodness and truth dwell but in the waters: Woglinde, Wellgunde and Flosshilde false and base Rhinegold! Rhinegold! all those who dwell up above! Shining gold! Return to the deep, (As the gods cross the bridge to the castle, the let us bathe in your light again! curtain falls.)

Translation © 1976 by Andrew Porter Reproduced by permission of Faber Music Ltd, London

Norman Bailey

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Norman Welsby Robert Ferguson

Emile Belcourt

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Robert Lloyd Clifford Grant

182 183 CHAN 3054 BOOK.qxd 25/7/08 11:31 am Page 184 Clive Barda Clive Courtesy Australia Opera

Derek Hammond-Stroud Gregory Dempsey

184 185 CHAN 3054 BOOK.qxd 25/7/08 11:31 am Page 186 John Garner/English National Opera Archive Opera National Garner/English John

Katherine Pring Lois McDonall

186 187 CHAN 3054 BOOK.qxd 25/7/08 11:31 am Page 188 Andrew March Andrew

Anne Collins Valerie Masterson

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Opera in English on Chandos Courtesy English National Opera Archive Opera Courtesy National English

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Opera in English on Chandos

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All booklet photographs from the English National Opera production of The Rhinegold conducted by Reginald Goodall

Recording producer John Mordler Sound engineer Robert Gooch Recording venue London Coliseum, live; 10, 19, 25 & 29 March 1975 Front cover Montage of photographs by Anthony Crickmay, courtesy of the Theatre Museum, V&A, from the English National Opera production of The Rhinegold conducted by Reginald Goodall Back cover Photograph of Reginald Goodall by John Garner Design Cass Cassidy Booklet typeset by Dave Partridge Booklet editor Finn S. Gundersen P 2001 Chandos Records Ltd digitally remastered from a P 1975 recording C 2001 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HQ, England Printed in the EU CHAN 3045(4) 202 203

SOLOISTS/ENGLISH NATIONAL OPERA ORCHESTRA/GOODALLCHAN 3054(3) bit 24 digitally remastered 1975 recording p ADD TT 52:57 TT 56:54 TT 64:08 CHAN 3054(3) COMPACT DISCCOMPACT ONE COMPACT DISCCOMPACT TWO COMPACT DISCCOMPACT THREE 3-disc set 2001 Chandos Records Ltd Printed in the EU c bass bass tenor tenor tenor soprano soprano baritone baritone contralto contralto bass-baritone mezzo-soprano mezzo-soprano DIGITAL 2001 Chandos Records a from Ltd digitally remastered p The Ring of the Nibelung CHANDOS (1813–1883) ...... Shelagh Squires Squires ...... Shelagh ...... Valerie Masterson Masterson ...... Valerie ...... Helen Attfield Attfield ...... Helen ...... Norman Welsby Welsby ...... Norman ...... Derek Hammond-Stroud Hammond-Stroud ...... Derek ...... Katherine Pring ...... Katherine Pring ...... Robert Lloyd Lloyd ...... Robert ...... Clifford Grant Grant ...... Clifford ...... Norman Bailey Bailey ...... Norman

WAGNER: THE RHINEGOLD Dempsey ...... Gregory ...... Lois McDonall ...... Lois McDonall ...... Emile Belcourt ...... Emile ...... Robert Ferguson Ferguson ...... Robert ...... Anne Collins ...... Anne English National Opera Orchestra Opera National English Group Movement Opera National English REGINALD GOODALL RICHARD WAGNER RICHARD THE RHINEGOLD Play to the Festival Evening Preliminary drama in four scenes Music Wagner Richard by Poem Porter Andrew translation by English Wotan Nibelungs Mime Fricka Freia Erda Woglinde Wellgunde Flosshilde Donner Froh Loge Fasolt Fafner Alberich CHANDOS RECORDS LTD Colchester . Essex . England

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