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CHANDOS O PERA I N ENGLISH

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Richard Wagner (1813–1883) The Valkyrie AKG First Day of the Festival Play The Ring of the Nibelung Music drama in three acts Poem by Richard Wagner English translation by Andrew Porter Siegmund ...... Alberto Remedios tenor Hunding ...... Clifford Grant bass Wotan ...... Norman Bailey bass-baritone Sieglinde...... Margaret Curphey soprano Brünnhilde...... Rita Hunter soprano Fricka ...... Ann Howard mezzo-soprano Valkyries: Gerhilde ...... Katie Clarke soprano Ortlinde ...... Anne Conoley soprano Waltraute ...... Elizabeth Connell soprano Schwertleite ...... Helen Attfield soprano Helmwige...... Anne Evans soprano Siegrune...... Sarah Walker mezzo-soprano Grimgerde ...... Shelagh Squires mezzo-soprano Rossweisse ...... Anne Collins contralto

Richard Wagner English National Opera Orchestra Reginald Goodall

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COMPACT DISC ONE Time Page Time Page Act I Scene 3 1 Prelude 4:20 [p. 110] 11 ‘A sword was pledged by my father’ 6:41 [p. 117] Siegmund Scene 1 12 ‘Are you awake?’ 1:12 [p. 118] 2 ‘The storm drove me here’ 5:36 [p. 110] Sieglinde, Siegmund Siegmund, Sieglinde 13 ‘My husband’s kinsmen’ 4:48 [p. 118] 3 ‘This house and this wife’ 4:11 [p. 111] Sieglinde Sieglinde, Siegmund 14 ‘Yes, loveliest bride’ 1:37 [p. 119] 4 ‘Evil fortune’s never far from me’ 4:17 [p. 112] Siegmund, Sieglinde Siegmund, Sieglinde 15 ‘Winter storms have vanished’ (Siegmund’s Spring Song) 3:41 [p. 119] Siegmund Scene 2 16 ‘You are the Spring’ 2:19 [p. 120] 5 ‘There he lay, feeble and faint’ 3:03 [p. 112] Sieglinde Sieglinde, Hunding, Siegmund 17 ‘Oh sweetest enchantment’ 3:21 [p. 121] 6 ‘Through field and forest’ 2:02 [p. 113] Siegmund, Sieglinde Siegmund, Hunding, Sieglinde 18 ‘The stream has shown my reflected face’ 4:05 [p. 121] 7 ‘Friedmund no one could call me’ 3:35 [p. 113] Sieglinde, Siegmund Siegmund, Hunding, Sieglinde 19 ‘Siegmund call me, and Siegmund am I!’ 1:33 [p. 122] 8 ‘The Neidings raided again’ 3:01 [p. 114] Siegmund Siegmund 20 ‘Siegmund, the Wälsung, here you see!’ 2:36 [p. 123] 9 ‘So the Norn who dealt you this fate’ 4:50 [p. 115] Siegmund, Sieglinde Hunding, Sieglinde, Siegmund TT 73:06 [p. 00] 10 ‘I know a troublesome race’ 6:13 [p. 116] Hunding

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COMPACT DISC TWO Time Page Time Page Act II Scene 2 10 ‘Fricka has won the fight’ 5:27 [p. 129] Scene 1 Brünnhilde, Wotan 1 ‘Go bridle your horse, warrior maid!’ 2:58 [p. 123] 11 ‘When youth’s delightful pleasures had waned’ 2:33 [p. 130] Wotan Wotan 2 ‘Hoyotoho! Hoyotoho!’ (Brünnhilde’s Battle Cry) 2:33 [p. 123] 12 ‘She refused to reveal more about it’ 2:45 [p. 130] Brünnhilde Wotan, Brünnhilde 3 ‘The usual storm, the usual strife!’ 2:02 [p. 124] 13 ‘There’s more to tell’ 2:25 [p. 131] Wotan, Fricka Wotan 4 ‘Pretend that you don’t understand!’ 1:37 [p. 124] 14 ‘Yet one can accomplish what I may not’ 2:30 [p. 132] Fricka, Wotan Wotan 5 ‘Now it’s come to pass!’ 1:00 [p. 125] 15 ‘But the Wälsung, Siegmund’ 1:18 [p. 132] Wotan Brünnhilde, Wotan 6 ‘So this is the end of the gods and their glory’ 3:36 [p. 125] 16 ‘Then Siegmund must fall in his fight?’ 3:56 [p. 133] Fricka Brünnhilde, Wotan 7 ‘You never learn what I would teach you’ 6:00 [p. 126] 17 ‘I give you my blessing, Nibelung son!’ 1:38 [p. 133] Wotan, Fricka Wotan, Brünnhilde 8 ‘What must I do?’ 2:21 [p. 128] 18 ‘No, have mercy’ 3:43 [p. 134] Wotan, Fricka Brünnhilde, Wotan 9 ‘Hiaha! Hiaha! Hoyotoho!’ 3:45 [p. 128] TT 52:09 [p. 00] Brünnhilde, Fricka, Wotan

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COMPACT DISC THREE Time Page Time Page

1 ‘So I obey his command’ 4:24 [p. 135] 7 ‘Then greet for me Walhall’ 3:51 [p. 138] Brünnhilde Siegmund, Brünnhilde 8 ‘Woe! Woe! Sister and bride’ 4:42 [p. 139] Scene 3 Siegmund, Brünnhilde 2 ‘Rest here for a while; stay by my side!’ 3:05 [p. 135] 9 ‘Two lives now lie in your power’ 2:37 [p. 140] Siegmund, Sieglinde Siegmund, Brünnhilde 3 ‘Away! Away!’ 4:46 [p. 135] Sieglinde, Siegmund Scene 5 4 ‘Where are you, Siegmund?’ 5:22 [p. 136] 10 ‘Charms of sleep are sent to still’ 3:12 [p. 141] Sieglinde, Siegmund Siegmund 11 ‘I hear your call’ 2:09 [p. 141] Scene 4 Siegmund, Sieglinde 5 ‘Siegmund! Look at me!’ (Announcement of Death) 3:19 [p. 137] 12 ‘Wehwalt! Wehwalt!’ 5:55 [p. 142] Brünnhilde, Siegmund Hunding, Siegmund, Sieglinde, Brünnhilde, Wotan 6 ‘And if I come’ 4:34 [p. 138] TT 47:57 [p. 00] Siegmund, Brünnhilde

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COMPACT DISC FOUR Time Page Time Page

Act III 12 ‘Did you not hear what I decreed?’ 4:56 [p. 154] Wotan, The Eight Valkyries Scene 1 1 ‘Hoyotoho! Hoyotoho!’ (Ride of the Valkyries) 9:00 [p. 143] Scene 3 Gerhilde, Helmwige, Waltraute, Schwerleite, Ortlinde 13 ‘Was it so shameful’ 3:51 [p. 155] Siegrune, Grimgerde, Rossweisse Brünnhilde, Wotan 2 ‘Shield me and help’ 1:25 [p. 147] 14 ‘I know so little’ 4:00 [p. 156] Brünnhilde, The Eight Valkyries Brünnhilde, Wotan 3 ‘Hear while I tell you’ 2:38 [p. 148] 15 ‘You, who this love into my heart revealed’ 4:06 [p. 157] Brünnhilde, The Eight Valkyries Brünnhilde, Wotan 4 ‘Pray suffer no sorrow for me’ 3:59 [p. 149] 16 ‘You indulged your love’ 0:54 [p. 157] Sieglinde, Brünnhilde, The Eight Valkyries Wotan 5 ‘Fly him swiftly, away to the east!’ 1:24 [p. 150] 17 ‘Unworthy of you this foolish maid’ 3:14 [p. 157] Brünnhilde Brünnhilde, Wotan 6 ‘O radiant wonder!’ (Parting Salute) 0:49 [p. 151] 18 ‘You fathered a glorious race’ 2:50 [p. 158] Sieglinde Brünnhilde, Wotan 7 ‘Stay, Brünnhild!’ 1:07 [p. 151] 19 ‘In long, deep sleep’ 3:05 [p. 159] Wotan, The Eight Valkyries, Brünnhilde Wotan, Brünnhilde, Scene 2 20 ‘Farewell, my valiant, glorious child!’ (Wotan’s Farewell) 5:00 [p. 159] 8 ‘Where is Brünnhild?’ 1:39 [p. 152] Wotan Wotan, The Eight Valkyries 21 ‘These eyes so warm and so bright’ 7:48 [p. 160] 9 ‘Weak-spirited, womanish brood!’ 2:59 [p. 152] Wotan Wotan 22 ‘Loge, hear! Come at my call!’ 1:26 [p. 160] 10 ‘Here am I, father’ 2:47 [p. 153] Wotan Brünnhilde, Wotan 23 Magic Fire Music 3:57 [p. 161] 11 ‘No more will you ride from Walhall’ 3:05 [p. 153] Wotan Wotan, The Eight Valkyries, Brünnhilde TT 76:02 [p. 011

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through, so to speak, with Tristan. That he Wagner could start on the music. At first he Richard Wagner: The Valkyrie should go on to complete the Ring and, was planning just one opera, which would end through his own efforts, have it performed in on a note of optimism with the moral and An Introduction to ‘The Ring of the condition that he renounce love, is invested a purpose-built theatre is nothing short of a physical superiority of the gods firmly Nibelung’ with dignity as well as malignity. miracle. established. The comment by one of his Wagner conceived the idea of a musical drama Wagner worked on the words and music for His sources included five epics, in Icelandic, friends that the story required an unrealistic on the subject of the Nibelung myth in 1848, several years, starting with a résumé of the Middle High German and Old Norse, all amount of background knowledge on the part at around the time he completed the last of his story in prose before embarking on the text of dating from the thirteenth century. As with all of the audience caused him first to expand traditional operas, Lohengrin. The Ring of the what he called The Death of Siegfried his operas, before and after the Ring, Wagner The Death of Siegfried and then to add what Nibelung can be enjoyed on many levels: as a (‘Siegfrieds Tod’). By December 1856, wrote his own words. But, to the alarm of his we would now call a ‘prequel’, Young Siegfried fairy story, political allegory or philosophical however, he informed a friend that ‘the friends, starting with The Death of Siegfried he (‘Der junge Siegfried’). Seeing the need for tract, for instance. In essence it deals with the Nibelungs are beginning to bore me’; indeed revived an old poetic device called ‘Stabreim’ still further expansion backwards, he wrote the timeless struggle between good and evil and he abandoned the Ring the following summer that made use of explosive alliteration rather texts of The Valkyrie and The Rhinegold. Young the contrast between the love of power and the and did not resume composition of it until than scansion and rhyme. This was of a piece Siegfried was eventually renamed Siegfried and power of love. Wotan, chief of the gods, wants 1869, by which time he had written Tristan with his theories, expounded in essays written The Death of Siegfried became Twilight of the power for ultimately benign purposes; and Isolde and The Mastersingers of Nuremberg. from his exile in Zürich, which were Gods, with significant omissions and changes, Alberich, chief of the Nibelungs, dwarfs who From conception to completion the gigantic concerned among other things with the one of the latter being to the ending where the live underground, wants it for his own evil project took him twenty-six years: years of interdependence of verbal and musical sounds gods now perished in the flames of their castle, ends. From Monteverdi’s Orfeo to Mozart’s turmoil both in his personal life and on the and the need for sung words to be audible; Valhalla. Acknowledging the influence of the The Magic Flute, from Rameau’s Hippolyte et political stage of Europe. from which it followed that ensembles and Oresteia and the Prometheus plays of Aeschylus, Aricie to Weber’s Der Freischütz, the It was not just boredom that led him, as he choruses would no longer be appropriate. Wagner described the Ring as a trilogy (The juxtaposition of light and darkness has put it, to leave his young Siegfried under the As it turned out, Wagner did not always Rhinegold being by way of an hors-d’œuvre). fascinated composers of opera. Wagner linden tree, where he ‘bade him farewell with follow his own precepts: there is a full-blown In 1854 Wagner was introduced to the recognised that all is not black and white but heartfelt tears’. Having fled Dresden to avoid quintet, as well as choruses galore, in The writings of the philosopher Arthur very largely shades of grey. Thus, Wotan being arrested for his involvement in the Mastersingers, and a chorus and a trio in the Schopenhauer – ‘a grouch of the most resorts to subterfuge and theft and describes revolution of 1848, he was living as an exile in second act of Twilight of the Gods. The opera pronounced description’, as P.G. Wodehouse’s himself as the dwarf’s alter ego, ‘Light- Zürich with scant prospect of ever seeing the that begins the Ring cycle, The Rhinegold, Bertie Wooster puts it. The revised ending to Alberich’ while Alberich, who after all acquires Ring staged; and his compositional style was provides a good example of Wagnerian theory the story of the Ring had been written before the Rhinegold by complying with the changing so radically that he needed to work it in practice, but much work lay ahead before then; but Wagner wrote several different

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endings thereafter, while engaged in the Act II of Beethoven’s Fidelio, that the sleeping Of the many delights of the Ring, not the revivals of Wagner’s earlier operas. Productions compositional stage of the cycle, including one Florestan is now dreaming of the wife about least is the orchestration. Wagner employs of The Rhinegold and The Valkyrie were given reflecting Schopenhauer’s pessimistic view that whom he has just been singing. Wagner’s enormous forces, but time and again it is a too, much against the composer’s will. Wagner life was merely the negation of death. Here, achievement was to create a network of single woodwind instrument – oboe, say, or was still determined that the complete Ring Brünnhilde achieves a state of Buddhist leitmotifs: short, pregnant phrases associated bass clarinet – that will express a situation or should be performed in its own theatre, under enlightenment by arriving at ‘the blessed end with individuals, objects, feelings and many give point to a vocal phrase. One of the Ring’s festival conditions. In 1871 he settled on the of everything eternal’. This was not the version other things, that recur in the vocal line and, most characteristic tone colours is provided by provincial town of Bayreuth. The building of he finally set to music, but it is an indication particularly, in the orchestra. They are much the so-called Wagner tubas (played by the new theatre was financed by public of his state of mind at the time he was more than the ‘visiting cards’ derided by members of the eight-strong horn section), subscription, Ludwig stepping in with help at composing the end of The Valkyrie and the Debussy (who was not above using the device which indeed intone the ‘Valhalla’ motif in the a critical moment. Wagner completed Twilight beginning of Siegfried. himself in Pelléas et Mélisande): plain second scene of The Rhinegold. of the Gods in 1874 and The Ring of the Having written the texts in the reverse repetition, melodic or harmonic modification, By 1862 Wagner was no longer banned Nibelung was given its first complete order, Wagner proceeded to compose the and combination – especially towards the end from the German states. In the following year performance in August 1876. By 1889 music from the beginning: thus he began The of the cycle – with other motifs, all serve to he published an edition of the text of the Ring productions had been seen all over the Rhinegold in 1853, a year after finishing the create a tightly woven tapestry. with a foreword in which he expressed the operatic world; they are still the yardstick by words, whereas in the case of Twilight of the Books have been written that assign names hope that a German prince would provide the which any opera house aspiring to greatness Gods, which he began in 1869, he was setting to the various motifs, but the more precise the money to enable the cycle – still incomplete – has to be judged. words that he had written (albeit with later attempted definition of any of the more to be mounted in a specially built theatre. His revisions) twenty years earlier. Of course his abstract ones, the more elusive it can turn out prayer was soon answered. The eighteen-year- © 2000 Richard Lawrence musical style developed over that period, and to be. None of this need trouble the first-time old crown prince of Bavaria succeeded to the the score of the latter opera is considerably listener, who will come to recognise the throne as King Ludwig II in 1864. He helped The Valkyrie more subtle and complex than that of the themes after a few hearings. Not all the Wagner to pay off his debts, installed him in a Wagner composed the music of The Valkyrie former. Yet the four operas, disparate as they connections are obvious, however: it is worth house in Munich, provided him with gifts of between November 1854 and March 1856. If are, hang together on account of the pointing out, to take but one example, the cash and an annual salary, and encouraged it is the most popular of the Ring operas and connecting device known as the leitmotif similar contours of the ‘Valhalla’ and the him to proceed with his great work. the one most likely to be performed in (from the German Leitmotiv, leading motif). ‘Ring’ motifs – noble and sinister, respectively Their relationship had its ups and downs, to isolation, it is not hard to see why. It marks There was nothing new about musical – which confirm, or rather anticipate our put it mildly; but it was thanks to Ludwig that the first appearance in the story of human reminiscence in opera. A familiar example is impression that Wotan and Alberich are two Tristan and The Mastersingers had their beings, in contrast to the Rhinemaidens, the little phrase on the oboe that tells us, in sides of the same coin. premieres at the court theatre, which also saw Nibelungs, giants and gods of The Rhinegold.

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An impassioned performance of the love duet Siegmund a drink of water. Her growing Rhinemaidens by means of a free agent. In contempt for Hunding, sorrow at Siegmund’s in Act I can stir the members of an audience excitement as she tells the story of the old man between comes the scene with Fricka, followed death and rage at Brünnhilde’s disobedience: a deeply and long enough for them to forget the who embedded a sword in the tree, with the by the monologue, much of it in recitative, concise and powerful end to a faultlessly paced uncomfortable fact that Siegmund and ‘Valhalla’ and the ‘Sword’ motifs surging away where in talking to Brünnhilde he is really act. Sieglinde are brother and sister who are about in the orchestra, is one of the supreme communing with himself. (In this recording The Valkyrie was first performed in Munich to commit incest as the curtain falls. moments in the opera. you can almost feel the audience hanging on in June 1870. Its first performance as part of The end of the opera, too, as Wotan takes a In Act III Sieglinde, on learning that she is every word of Norman Bailey’s gripping the complete Ring cycle was at the Bayreuth long leave of his favourite daughter to give birth to Siegfried, ‘the noblest hero of narration.) Wotan welcomes the end of his Festival in August 1876. (Brünnhilde, the Valkyrie of the title), is an all’, expresses her joy in the motif generally power and tells how Alberich is working to emotional situation with which everyone can called ‘Redemption’, which does not recur bring this about by seducing a woman for gold © 2000 Richard Lawrence identify: the audience is moved by the feelings until the very end of Twilight of the Gods. She in order to father an ally (thus implying that of the father even more than by the stumbles off, never to be seen again (we learn Siegfried and Alberich’s son Hagen, who meet Reginald Goodall – predicament of the god. After all the sound of her fate in Siegfried). Once the assembled in Twilight of the Gods, are almost exact a personal appraisal by Brian Ward and fury of the ‘Ride of the Valkyries’, Valkyries have fled in terror of their father’s contemporaries). Occasionally one arrives for a concert or an Sieglinde’s ecstatic outpourings and Wotan’s wrath, the scene belongs to Wotan and After a scene for the fleeing lovers, opera in a state of mind which makes it rage, the quiet near-immobility of the last Brünnhilde. Their dialectical exchange recalls Brünnhilde makes her solemn appearance virtually impossible to enjoy the performance scene provides a deeply satisfying close. the argument between Wotan and Fricka in before Siegmund as the messenger of death. and there is no doubt that the evening of Act I begins with a storm, through which Act II, with the difference that there Wotan is He asks her six questions, to each of which she 5 March 1954 looked like being one of those Siegmund is running away from his enemies. worn down by Fricka’s remorseless logic, replies. For Siegmund’s own response, refusing occasions. He runs away at the end of the act, too; and if whereas here there is a rapprochement of sorts. to follow her to Valhalla without Sieglinde, Everything had gone wrong: I had driven this, combined with his self-pity, makes him at Glorious though the outer acts are, it is Wagner emphasises the point by raising the down to Croydon particularly to hear Die first seem one of the Ring’s less attractive perhaps Act II that shows Wagner at his pitch of each phrase in a kind of ratchet effect. Walküre with Ludwig Hofmann, a famous pre- characters, Wagner forces us to sympathise greatest. The five scenes encompass Wotan's Siegmund’s steadfastness leads ultimately to war German high bass, in the role of Wotan, with him by providing him with music of all-too-brief joy when he orders Brünnhilde to Brünnhilde’s acquiring an understanding of but having been late leaving the office I had both tenderness and power. Sieglinde, it has protect Siegmund in the battle with Hunding, human love, with momentous consequences. then had a tyre blow-out in the middle of the been said, is the only truly sympathetic person and his utter despair at having to acknowledge Finally there is Siegmund’s tenderness over the rush hour traffic and had eventually arrived to in the Ring (perhaps the lovelorn giant Fasolt instead the incontrovertible necessity of the sleeping Sieglinde, her brief nightmare and the find that Mr Hofmann was not appearing. comes close): her music is all tenderness, from death of Siegmund and therefore the end of fatal fight. Within the span of just a few Five hours later I left the Davis Theatre in the moment she fetches the wounded his plans to restore the gold to the seconds Wotan and the orchestra express such a state of high excitement that I would

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have happily walked home having heard a had gone with a certain amount of trepidation Wagner. It is profoundly to be hoped that his Alberto Remedios, Gregory Dempsey, Derek performance such as I had only imagined feeling that the small Sadler’s Wells Orchestra reappearance at Sadler’s Wells represents an Hammond Stroud and, subsequently, Clifford possible under the direction of and the somewhat dry acoustic of the Theatre appreciation of his rare talents more acute than Grant. Knappertsbusch or Furtwängler. The were unlikely to suit a work of this nature. In that shown by Covent Garden on whose staff he I was lucky enough to see several conductor that night was Reginald Goodall. the event I was confounded and heard a is. Mastersingers at Sadler’s Wells and the Of course I had heard, and admired, a great performance which, despite some vocal Like Mr Heyworth I, too, hoped for more Coliseum and, although I had seen a number deal of Mr Goodall’s work at Covent Garden deficiencies, was, in its way, as thrilling as that of Mr Goodall but not a bit of it: the of performances under Rankl, Krauss and in the immediate postwar years when he had marvellous Croydon Walküre some years following season at Covent Garden he Beecham and had heard many broadcasts from regularly conducted what seem now to be such previously. conducted nothing at all. Whilst in the Bayreuth, to me they were a revelation; to the unlikely works as Carmen, Manon, La traviata, Up to this time Mr Goodall’s Wagner had 1962/63 season there was just one The Golden critics, too, for they at once started writing of Aida and Il trovatore but nothing had prepared not aroused much interest amongst the music Cockerel, after that there were no more Mr Goodall as being ‘the greatest Wagner me for a Wagnerian interpretation of such critics, but of Tannhäuser Peter Heyworth performances for the next five years. It was not conductor alive today’; a fact of which some of deep understanding and nobility as that which wrote in Opera: until the beginning of 1968 that we had the us had been aware for fifteen years. I heard that evening. Mr Goodall has a splendid sense of the music’s opportunity of hearing this extraordinary man Subsequent events are, of course, well known: From that moment on I thought much of breadth and grandeur, yet there is no inertia or again. This time, however, it was in a series of the rumours of a Ring cycle, the new the possibility of a Ring under Mr Goodall’s lack of liveliness in his tempi and rhythms. The performances that shook the opera-going production at the Coliseum of The Valkyrie guidance but as time went on it became quite spaciousness he gives the score enables every public, and the critics, to the core. It had been and the gradual build-up over the years of a apparent that this was not to be. There were detail to emerge with unflustered ease, yet his announced that as the two Sadler’s Wells complete cycle which was first heard in August revivals, under his direction, of Gloriana and reading never lacks dramatic excitement, and his Companies were in London simultaneously 1973 with the house six times oversubscribed! Boris Godunov, of Fidelio and Turandot, of timing of climaxes is unerring. Above all he has a there would be a new production of Many of the original singers who appeared Peter Grimes, Wozzeck and Troilus and Cressida remarkable ability to reveal one of Wagner’s The Mastersingers of Nuremberg utilising the in the 1968 Mastersingers also appeared in the but nothing prepared from scratch by Mr immense acts as a single unfolding entity – and resources of the combined Companies, and on Ring operas but Mr Goodall had enlisted the Goodall. It was not until seven years later that that is no mean achievement in a work in as 31 January 1968 the first of a great series of aid of several newcomers (newcomers to major I heard another Wagner performance which many ways as immature as Tannhäuser. His Wagner performances took place. At last we Wagner roles, that is): in addition to splendid made me realise, once again, just what a great climaxes indeed achieve such extraordinary had a production which had been prepared contributions by the above mentioned in the Wagner conductor we had and just how much power in relation to the slim resources at his and not simply revived, and at last we could roles of Wotan/Wanderer, Siegmund/Siegfried, he was neglected. command because they arise out of the music’s see just what Mr Goodall could do in the way Mime, Alberich and Hagen/Hunding we had This occasion, in October 1960, was a organic development. of forming a house style with the collaboration the magnificent Brünnhilde of Rita Hunter Tannhäuser revival at Sadler’s Wells to which I Mr Goodall is an authoritative interpreter of of dedicated artists such as Norman Bailey, and quite extraordinarily convincing

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impersonations by such stalwarts as Emile shape at will, and the ring, which Wotan though unconscious. The man calls for a Hospitality binds them for the night, but on Belcourt, Ann Howard and Katherine Pring to intended to keep for himself. The giants, drink, and she fetches water in a drinking- the morrow they must fight to the death. He name but a few of the many who made these however, were only content after everything horn to revive him. 3 He learns that she and dispatches his wife to make his night’s drink – performances so memorable. had been relinquished, including the ring. At the hut belong to her husband Hunding. She she goes unwillingly, with many significant Nevertheless, although he would be the first first Wotan refused to part with the ring, but brings him a drink of mead from the larder, glances at the tree-trunk round which the hut to deny it, it is Reginald Goodall who is the real heeding the earth-spirit Erda, who warned and the music tells us that they have fallen in is built. Hunding, with a final warning, hero, whose genius was the driving force behind him of the curse Alberich has laid on it, he love. 4 But the man attempts to hurry away, follows her. the Sadler’s Wells Ring and to whom all true eventually surrendered it. to avert ill-luck from his hostess – she answers 11 The light has faded. Wehwalt is alone, Wagner lovers should be eternally grateful. Immediately, the curse took effect for Fafner that ill-luck is already at home here. He tells unarmed; he can only remember that Wolfe killed Fasolt and took all the treasure. Uneasy her that his name is Wehwalt (Woeful had promised him a sword when he should © 1974 Brian C. Ward at the outcome of these events, Wotan and the countenance). need one. ‘Wälse! Wälse!’ he calls on his gods nonetheless entered Valhalla in triumph, Hunding, heralded by a menacing call on father, ‘Where is the sword?’ And the fire’s last Events preceding ‘The Valkyrie’ accompanied by the lament of the the Bayreuth tubas, returns home. 5 The embers shed a light on the tree in which a In The Rhinegold Alberich, the Nibelung Rhinemaidens for their lost gold. woman explains that she has succoured a sword is embedded – from the orchestra a dwarf, has stolen the gold that was guarded by fugitive. 6 Hunding proclaims the sanctity of trumpet calls the theme of the magic sword. the Rhinemaidens and, by renouncing love, Synopsis his hearth, remarks on the likeness of the two 12 In the darkness Hunding’s wife returns; has been able to fashion a ring giving him and asks the guest’s history. 7 – 8 Wehwalt she has given her husband a heavy sleeping mastery of the world. With this he descended Compact Disc One explains that his mother was killed by bandits draught, and now begs the stranger to win the to Nibelheim and enslaved the Nibelungs, and his twin sister abducted when he was a sword. 13 At her wedding a grey-clad stranger forcing them to mine more gold for him. Act I boy; his father, nicknamed Wolfe, had brought had entered and plunged this sword in the The giants Fasolt and Fafner, having Inside a dwelling him up, then disappeared. He himself was tree. The orchestra tells us that he was Wotan. constructed Valhalla (German, ‘Walhall’) for 1 A storm is heard to be raging before the shunned by all men. 9 He had reached None of the guests could withdraw it; she Wotan, demanded as payment Freia, the rise of the curtain. When it subsides a man Hunding’s hut after a fight in which he went knew then that it was put there for her saviour goddess of Youth and Beauty, but Wotan, hurries in, clearly the exhausted victim of a to aid a girl who was being forced into a – would he might be Wehwalt! 14 They fall prompted by the fire-spirit Loge, offered them hunt. 2 He collapses on the rug before the loveless marriage. She and all her folk were into each other’s arms, and are suddenly the Nibelung gold instead. This they accepted. fire, exclaiming his need of rest no matter killed; only Wehwalt escaped. illuminated by bright moonlight that seems to Wotan and Loge descended to Nibelheim and whose house it be. A woman comes from 10 Hunding rises in wrath; this was the be bestowing nature’s benison on their love. tricked Alberich out of his treasure: the inside, disturbed by the noise, astonished to enemy against whom his kinsmen had called 15 Spring and its sister Love, says Wehwalt, are magical Tarnhelm whose wearer may change see a stranger, but relieved to find him alive him, now found sheltering in his own home. united in wedlock. 16 – 17 The woman hails

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Wehwalt as her Spring, and as their loving surveying the scene with his favourite this crucial conflict, recalling the events of refuses, however, to be parted from Sieglinde exchanges proceed 18 it dawns upon her that daughter, the Valkyrie maiden Brünnhilde. He The Rhinegold – a recapitulation structurally and threatens to slay her and her unborn he is closer to her than anything save her own orders her, as the instrument of his own will, necessary to Wagner’s symphonic plan, not child. 9 Brünnhilde decides to save them reflection, the echo of her own voice. When to protect Siegmund in the approaching affray simply a method of bringing audiences up to both and defy Wotan (though of course she is he mentions that his father was not Wolfe but with Hunding. 2 Joyously Brünnhilde calls date. 14 – 15 The narration confirms Wotan’s only preparing to do what Wotan really Wälse and he a Wälsung, she is overcome her war-cry of ‘Hojotoho!’ She warns Wotan belief that the outcome must be the end of desires). She hurries away. with joy. She knows that he is her brother, and to prepare himself too; his wife Fricka, everything, unless a hero of his own free will 10 Siegmund gently lays the sleeping she gives him his original, rightful name guardian of domesticity, is coming this way in intervenes and prevents this, the end for which Sieglinde on the ground and prepares for Siegmund (Victor). 19 – 20 He jumps up, her ramchariot. 16 Alberich the Nibelung is striving, and for the fight as Hunding’s horn-call is heard. leaps to the tree, pulls out the sword and, 3 Fricka has come to insist on the triumph which he has by bribery begotten a son, 11 Sieglinde awakes from a nightmare to find calling out its name, Notung (Needful), offers of matrimonial decency and the punishment Hagen. 17 – 18 Wotan gives Brünnhilde her herself alone, just as 12 Siegmund is it as his bridal gift. The woman reveals that of the incestuous lovers. 4 – 6 If she were to orders: fight for Fricka and put aside Wotan’s confronted at the mountain-pass by Hunding. she is his sister Sieglinde. ‘The blood of these bless the love of Siegmund and Sieglinde, as own will. Brünnhilde hovers above, protecting Wälsungs is blessed!’ he cries, embracing her Wotan wishes, the moral superiority of the Siegmund, but suddenly Wotan appears. as the curtain falls. gods would be at an end. She taxes him with Compact Disc Three Siegmund’s sword breaks on Wotan’s spear all his past infidelities and, 7 when he leaving Hunding free to strike his opponent Compact Disc Two explains the need of a free agent, counters that 1 Wotan storms away; Brünnhilde leaves the dead. Brünnhilde quickly turns and carries his chosen agent Siegmund is not free at all scene more slowly, in deep dejection. 2 The away Sieglinde who has fainted. Wotan stands Act II but has been guided all along by Wotan. He flight music is heard again as Siegmund and over Hunding and with a wave of the hand A wild, craggy summit cannot therefore perform his task. 8 Miserably Sieglinde hasten to the spot. 3 – 4 Sieglinde dispatches his spirit to Fricka as messenger of 1 Their escape is portrayed in the orchestral Wotan concedes, point by dreadful point, all is unwilling to rest even for a moment – her victory. But he promises a dreadful prelude to the second act, a wild and that she demands: Siegmund must be slain by already she imagines the sounds of Hunding punishment for Brünnhilde’s disobedience. passionate symphonic treatment of themes Hunding; neither Wotan nor Brünnhilde shall in pursuit. But fatigue is stronger than fear associated with Notung, flight, and the love of protect him; the sword shall lose its magic and she falls senseless in Siegmund’s arms. Compact Disc Four Siegmund and Sieglinde for each other. power. 9 Triumphant Fricka commands 5 – 6 As he supports her thus, sitting upon Gradually the music becomes more Brünnhilde, on her return, to receive Wotan’s a rock, Brünnhilde like a figure in a dream Act III thunderous and grandiose to prepare for the new orders. 10 Wotan pours out his appears before him, warning him of his On the summit of a rocky mountain immortals among whom the action now indignation and misery to her. 11 – 13 He approaching death and journey with her to the 1 The orchestral prelude describes the passes. From the rocky height Wotan is retraces to her, as if to himself, the sources of hall of heroes in Valhalla. 7 – 8 Siegmund journey through the air of the Valkyries

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(Wotan’s warrior-daughters mothered by the of Valhalla, she may see Wotan no more; here spell on the mountain: no-one who fears his Godunov) and returned to sing Florestan, earth-goddess Erda) as they ride to their on this rock she shall sleep defenceless for the spearpoint shall pass through the magic fire. Aeneas (Les Troyens), Max, Erik, Siegfried, meeting place on a mountain-top. At curtain first passer-by to take for himself and make his Slowly the god departs. His power is finished. Bacchus and Mark (Sir Michael Tippett’s rise they are seen assembling here, one by one, domestic chattel. 12 Wotan sends the The destiny of the world rests with his unborn The Midsummer Marriage). He has also before riding together to Valhalla with the protesting Valkyries on their way. hero-grandson Siegfried, and with the demi- performed with Welsh National Opera and bodies of heroes slain in battle. 2 Last of all 13 – 14 Brünnhilde lies prostrate. After a goddess now reduced to mere womanhood Scottish Opera and spent two years with comes Brünnhilde, carrying on her saddle not long pause she begins to defend herself; she and lying alone upon this mountain. Frankfurt City Opera. He made his debut at the dead Siegmund but the living Sieglinde. has only done what was Wotan’s true will. The Metropolitan Opera, New York as Bacchus 3 Brünnhilde entreats her Valkyrie sisters to 15 – 17 She sheltered Siegmund because she William Mann, 1976 and has also appeared in San Francisco (as help her hide Sieglinde; Wotan is riding in loved him. Wotan created that love, and with © The Estate of William Mann Dimitri and Don Carlos), in Los Angeles, San pursuit and will soon deal out vengeance to it the will to disobey Fricka. She has fulfilled, Reproduced by permission of Diego and Seattle (as Siegfried), in Boston (as them both. No other Valkyrie dares brave not betrayed, her duty. Wotan is moved but David Higham Associates Gounod’s Faust) and at the Teatro colón in Wotan’s anger, and 4 Sieglinde herself longs not deflected. 18 She reminds him of the Buenos Aires (as Peter Grimes). With Dame only for death, until Brünnhilde tells her of Wälsungs, his own children, and seeks to turn Alberto Remedios, among the leading British Joan Sutherland he toured Australia singing the Wälsung hero who is growing to life in her him by revealing that she has saved Sieglinde heroic tenors of his generation, studied in Edgar (Lucia di Lammermoor), Alfredo, Lenski womb: Sieglinde’s only safety is in flight alone with her unborn child, and the sword that Liverpool with Edwin Francis and at the Royal and Faust, and a close association with that to a deep forest guarded by Fafner the dragon; Wotan made; Wotan reminds her that it was College of Music and made his debut with country has involved performances as Florestan, 5 there she must bear her child in hiding, he who shattered it. Brünnhilde’s fate cannot Sadler’s Wells Opera (later English National Siegmund, Radames and Otello with Opera give him the fragments of his father’s sword, be changed; 19 she must be exposed in magic Opera) as Tinca in Il tabarro. His numerous Australia as well as appearances in Melbourne, and call him Siegfried. 6 Sieglinde pours out sleep. 20 – 21 One thing he concedes; she roles with that company include Don Ottavio, Adelaide and Brisbane. Alberto Remedios her gratitude and joy in a glorious outburst of shall be ringed with magic fire that will at least Tamino, Max (Der Freischütz), Alfredo, Faust received a CBE in the 1981 Queen’s Birthday lyricism before hurrying away. 7 Brünnhilde repel cowards. Wotan raises her from the (in both Gounod’s opera and The Damnation Honours List. hides among her Valkyrie sisters as Wotan ground and begins to bid her farewell. of Faust by Berlioz), Des Grieux (Manon), storms to the mountain-top, calling angrily for With a kiss on the eyes he removes her Samson (Samson and Delilah), Lenski, Erik The Australian bass Clifford Grant trained in her. 8 – 9 Scornful of the Valkyries’ pleas godhead from her and plunges her in sleep, (The Flying Dutchman), Lohengrin, Walther Sydney, Melbourne and London, and made for mercy he orders her to show herself. then lays her down on the mountain with her (The Mastersingers of Nuremberg), Tristan, his operatic debut with the New South Wales 10 She has created her own punishment, for helmet and spear. 22 Solemnly he points his Siegmund, Siegfried and Bacchus (Ariadne Opera Company as Raimondo in Lucia di she is part of him; he passes sentence; she is no spear at a rock and calls up Loge, spirit of fire, on Naxos). He made his debut at The Royal Lammermoor. He joined Sadler’s Wells Opera longer a Valkyrie, 11 no longer an inhabitant to ring the peak with flame. 23 Wotan casts a Opera, Covent Garden as Dimitri (Boris (later English National Opera), where he has

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appeared as Seneca (The Coronation of Poppea), Sutherland, Otto Klemperer, Sir Adrian Boult Walküre), Klingsor and Amfortas (Parsifal), Elisabeth de Valois (Don Carlos), Santuzza the Commendatore (Don Giovanni), Sarastro and Sir Colin Davis. Jochanaan (Salome) and the Music Master (Cavalleria rusticana), both Mimì and Musetta (The Magic Flute), Silva (Ernani), Padre (Ariadne auf Naxos). Recent roles have (La bohème), Marguerita (Berlioz’s Guardiano (The Force of Destiny), Philip II Born in South Africa, the bass-baritone included Oroveso (Norma), Banquo The Damnation of Faust) and Ellen Orford (Don Carlos), King Henry (Lohengrin), Pogner Norman Bailey studied in Vienna and spent (Macbeth), the King (Aida), the Doctor (Peter Grimes) among many other roles. Her (The Mastersingers of Nuremberg), Fafner, his early career singing in Austria and (Wozzeck) and Schigolch (Lulu). His renowned Wagnerian performances with the Hunding and Hagen (The Ring of the Germany. He then returned to the United international career has taken him to major company have included Elsa (Lohengrin), Eva Nibelung) and in leading roles in The Barber Kingdom where he has sung with all the major opera stages and festivals throughout Europe (The Mastersingers of Nuremberg), Sieglinde, of Seville, Rigoletto, Madam Butterfly, Manon, opera companies. As one of the leading and the United States, including several Brünnhilde and Gutrune. She participated in Oedipus Rex and Peter Grimes. Other Wagner singers of his generation he is seasons at Bayreuth, and to collaborations with the British premiere of Mozart’s Lucio Silla at engagements have included Doctor Bartolo associated particularly with the title role in conductors such as Sir Colin Davis, Sir Georg the Camden Theatre, has made guest (Le nozze di Figaro) at The Royal Opera, Der fliegende Holländer and Hans Sachs in Solti, James Levine, Carlo Maria Giulini, appearances on several opera stages on the Covent Garden; roles in Nabucco and Die Die Meistersinger von Nürnberg. He has also Wolfgang Sawallisch, Claudio Abbado and European continent, won a medal at the Zauberflöte at Welsh National Opera; Nettuno sung the Landgraf in Tannhäuser with Opera Daniel Barenboim. For Chandos he has International Competition in Sofia, Bulgaria, (Il ritorno d’Ulisse in patria) at Glyndebourne North and Wotan/the Wanderer and Gunther recorded the title role in Sir Michael Tippett’s and also enjoyed an active career as a concert Festival Opera; Hunding at L’Opéra de with English National Opera, where as King Priam. singer. Marseille; Alidoro (La Cenerentola), Oroveso company member he also sang Pizarro (Norma), Matteo (Auber’s Fra Diavolo), (Beethoven’s Leonore), Count di Luna Born in Douglas on the Isle of Man and Having trained in Liverpool with Edwin Sparafucile (Rigoletto), the King (Aida), (Il trovatore), Alfio (Cavalleria rusticana), trained at the Birmingham School of Music, Francis and later with Dame Eva Turner Lodovico (Otello), and Hagen, as well as roles Scarpia (Tosca), the Father (Hansel and Gretel), the lyric soprano Margaret Curphey toured among others, the dramatic soprano Rita in I puritani, Il trovatore and Tannhäuser at Prince Gremin (Eugene Onegin), Kutuzov with Opera for All and spent two years in the Hunter toured with the Carl Rosa Opera San Francisco Opera; and Nilakantha (Prokofiev’s War and Peace) and the Forester chorus of the Glyndebourne Festival before Company before becoming a principal at (Delibes’s Lakmé) and Pimen (Boris Godunov) (The Cunning Little Vixen) among other roles. joining Sadler’s Wells Opera (later English Sadler’s Wells Opera (later English National in Sydney. After appearing in Meyerbeer’s With The Royal Opera, Covent Garden he has National Opera), where she debuted as Opera), where she sang Marcellina, Donna Les Huguenots with Opera Australia in 1990 he appeared as Balstrode (Peter Grimes, also on Micaela (Carmen) and went on to sing La Anna, Odabella (Attila), Leonora (Il trovatore), retired from opera but returned to the stage in tour to Palermo) and as Germont Musica (Monteverdi’s Orfeo), the Countess Amelia (A Masked Ball), Elisabeth de Valois 1993 to sing Alvise Badoero in La Gioconda (La traviata), Ford (Falstaff), Wolfram (The Marriage of Figaro), Pamina, Ninetta (Don Carlos), Santuzza, Musetta (La bohème), with Opera North. He has collaborated with (Tannhäuser), Kurwenal (Tristan und Isolde), (The Thieving Magpie), Mary Stuart Senta and Fata Morgana (Prokofiev’s The Love such distinguished artists as Dame Joan Donner (Das Rheingold), Wotan (Die (Donizetti’s opera of that name), Violetta, for Three Oranges) among other roles. She

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attracted worldwide attention in the early studied in Paris and upon her return from Elizabeth Connell has established her Marschallin in Der Rosenkavalier and Ariadne), 1970s for her performances as Brünnhilde, a France joined Sadler’s Wells Opera (later reputation in the dramatic soprano repertoire, with specially notable successes in the role she has since performed all over the world, English National Opera) where her roles have particularly the operas of Beethoven, Wagner Wagnerian roles of Brünnhilde, Isolde and and soon made her debut in Berlin, at The included Azucena, Princess Eboli, Musetta and Strauss. Following her debut at the Sieglinde. She appeared at the Bayreuth Royal Opera, Covent Garden, The (La bohème), Carmen, Delilah, Conception Wexford Opera Festival she performed in Festival under Daniel Barenboim from 1989 Metropolitan Opera, New York (returning for (L’Heure espagnole), Ortrud (Lohengrin), Prokofiev’s War and Peace at the opening of the to 1992 and has participated at the Ravello several consecutive seasons), in Munich, San Brangäne, Fricka, the Witch (Hansel and Sydney Opera House and has maintained a and Edinburgh Festivals as well as the BBC Francisco, New Orleans and Australia, a Gretel), the Composer (Ariadne on Naxos), close relationship with Opera Australia. Her Promenade Concerts (on the ‘Last Night of country to which she developed specially close Baba the Turk (The Rake’s Progress), Katisha international career has taken her to opera the Proms’). In Great Britain she has sung ties, settling there permanently in 1985. She (The Mikado), the Fairy Queen (Iolanthe) and houses and festivals throughout Europe and with The Royal Opera, Covent Garden, has also performed with Welsh National Auntie (Peter Grimes). She has also appeared North America in a repertoire that includes English National Opera, Welsh National Opera, at the Pacific Northwest Festival in with The Royal Opera, Covent Garden Idomeneo, Norma, Nabucco, Attila, Macbeth, Opera and Scottish Opera and performed in Seattle (as Brünnhilde in the complete Ring (Amneris), Welsh National Opera (the Don Carlos, Fidelio, Der fliegende Holländer, concert and recital at the Royal Festival Hall, cycle) and at major festivals at home and Duchess in La Grande-Duchesse de Gérolstein Tannhäuser, Lohengrin, Tristan und Isolde, Royal Albert Hall (under Bernard Haitink) abroad. She has achieved great success in the and in Sir Peter Maxwell Davies’s The Doctor Der Ring des Nibelungen, Elektra (the title role), and the Wigmore Hall. Italian repertoire of Norma, Abigaille of Myddfai), Scottish Opera (Brangäne, Fricka, Ariadne auf Naxos, Jenu˚fa (Kostelnicka) and (Nabucco), Lady Macbeth, Leonora and Aida, Cassandra in Les Troyens and the Old Lady in Peter Grimes. Conductors with whom she has The mezzo-soprano Sarah Walker has enjoyed but has also performed leading roles in Bernstein’s Candide) and Opera North (the collaborated include Claudio Abbado, Giuseppe an outstanding career as a singer in recital and Idomeneo, Turandot, Lohengrin, Tristan und Hostess in Boris Godunov). Dividing her Sinopoli, Carlo Maria Giulini, Wolfgang opera and has appeared at festivals, concert Isolde and Elektra. She has performed with such international career between the European Sawallisch, Sir Charles Mackerras, Sir Edward halls and opera houses throughout Europe, distinguished artists as Birgit Nilsson (Sieglinde continent and North and South America she Downes, Sir Colin Davis, Mark Elder, Lorin North America, Australia and New Zealand to her own Brünnhilde at The Metropolitan has made operatic appearances throughout Maazel, James Levine and Seiji Osawa. with many of the world’s most distinguished Opera), Carlo Maria Giulini, Lorin Maazel, France, at the Bavarian State Opera, Vienna conductors, singers and accompanists. Her Sir Yehudi Menuhin, Sir Simon Rattle and State Opera, Teatro San Carlo in Naples, in The international career of the soprano Anne operatic repertoire ranges from Claudio Richard Hickox. Rita Hunter has received Genoa and Lisbon, and in Edmonton, Evans has taken her to major operatic stages Monteverdi (Il ritorno d’Ulisse in patria and many honours including, in 1980, a CBE. Montreal, Los Angeles, New York (both The throughout Europe and in North and South L’incoronazione di Poppea) and Francesco Metropolitan Opera and New York City America in a repertoire that centres Cavalli (La Calisto) to Sir Peter Maxwell Having won a Royal Opera Scholarship, the Opera), Washington D.C., Baltimore, New particularly on German opera, from Beethoven Davies (Taverner) and Aulis Sallinen (The King London-born mezzo-soprano Ann Howard Orleans, Santa Fe, Mexico and Santiago. (Leonore in Fidelio) to Strauss (the Goes Forth to France). She is closely associated

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with The Royal Opera, Covent Garden and in Milan. American appearances have included Stuart, Julius Caesar, The Barber of Seville, Britten’s The Rape of Lucretia during the has also performed frequently with English The Metropolitan Opera in New York. She Rigoletto (Jonathan Miller’s production), Glyndebourne Festival’s first postwar season. National Opera. Her numerous recordings has made many recordings, among them, for La traviata and Werther. Shortly afterwards he joined the music staff at reflect the vast range of her repertoire and Chandos, the Grammy-award-winning Peter Covent Garden, where for the next twenty-five include, on Chandos, music by Manuel de Grimes under Richard Hickox. The English conductor Reginald Goodall was years he conducted a repertoire ranging from Falla (Love the Magician) and Mozart born in 1901 and studied conducting under Il trovatore to Troilus and Cressida. (Requiem) as well as Julius Caesar and Faust, Critically and publicly acclaimed, the English Malcolm Sargent and Constant Lambert at the Only rarely was he given the chance to both in association with the Peter Moores National Opera Orchestra Leader Barry Royal College of Music. From 1929 to 1936 conduct operas by the composer he most Foundation. Sarah Walker received a CBE in Griffiths, has in recent years received several he was organist and choirmaster at St Alban admired, Richard Wagner. This omission was the 1991 Queen’s Birthday Honours List. prestigious awards, including the Royal the Martyr, Holborn, where he conducted the rectified in 1968, not by The Royal Opera but Philharmonic Society Music Award and an first British performances of choral works by by Sadler’s Wells, which invited him to conduct The contralto Anne Collins joined the Sadler’s Olivier Award for Outstanding Achievement in Bruckner, Stravinsky and Szymanowski, as a new production of The Mastersingers of Wells Opera (later English National Opera), Opera. The Orchestra is at the heart of the well as early works by Britten. During the late Nuremberg. So remarkable was its success that where her repertoire included The Coronation Company’s artistic life and as well as opera 1930s he worked as assistant to Albert Coates he returned to the company to conduct its now of Poppea, Count Ory, A Masked Ball, Madam performances in the London Coliseum has and Malcolm Sargent among others. At the legendary complete production of The Ring of Butterfly, Arabella and several roles, including been seen on the concert platform. In addition beginning of the Second World War he the Nibelung, built up between 1970 and 1973 most famously Erda, in Wagner’s Ring cycle. many of the players participate in the work of became conductor of the Bournemouth-based and the first to be given in English for some She has sung frequently with The Royal the Baylis Programme of the Company’s Wessex Philharmonic Orchestra. years. He went on to conduct Das Rheingold Opera, Covent Garden, Welsh National education and outreach department and with In June 1945, as a member of Sadler’s Wells and Die Walküre for The Royal Opera, Tristan Opera, Opera North and Scottish Opera, and the English National Opera Studio in the Opera (later English National Opera), he und Isolde and Die Walküre for Welsh National has appeared at the Glyndebourne, Aldeburgh, development of new operas, in particular conducted the first performance of Peter Opera and Tristan and Parsifal at English Wexford and Camden Festivals and at the Mark-Anthony Turnage’s The Silver Tassie Grimes at the newly reopened Sadler’s Wells National Opera. He received a CBE in 1975 BBC Promenade Concerts. She has performed which had its world premiere in February Theatre. In the following year he shared with and was knighted in 1985. Reginald Goodall in concert, at festivals and with opera 2000. The Orchestra appears in many Ernest Ansermet the first performances of died in 1990 at the age of eighty-eight. companies throughout Europe, including the recordings, including Verdi’s Otello under opera houses of Lyon, Strasbourg, Geneva and Mark Elder, which is soon to appear on Hamburg, the Paris Opéra and Châtelet Chandos under the sponsorship of the Peter théâtre musical, the Théâtre royal de la Moores Foundation. Other recordings for Monnaie in Brussels and the Teatro alla Scala Chandos/Peter Moores Foundation are Mary

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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 Vienna State Opera, 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 him to come home as he was The Foundation awards scholarships annually to students and post-graduates for furthering needed in the firm. Family loyalty being paramount, he their vocal studies at the Royal Northern College of Music. In addition, project awards may be returned to Liverpool. 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 Opera in English 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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Siegmund and Sieglinde, Act I, Scene 1 Siegmund and Sieglinde, Act I, Scene 1

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geflohen war, um der Verhaftung wegen seiner ihm Ensemblenummern und Chöre nicht Richard Wagner: Die Walküre Beteiligung an der Revolution von 1848 zu mehr angemessen erschienen. entgehen, lebte Wagner im Züricher Exil und Wie es sich herausstellte, gehorchte Wagner Eine Einführung in den “Ring des während Alberich, der das Rheingold erwirbt, sah kaum eine Chance, den Ring jemals nicht immer seinen eigenen Regeln: In den Nibelungen” indem er die Bedingung erfüllt, aller Liebe zu aufgeführt zu sehen; außerdem war sein Meistersingern kommen ein ausgewachsenes Wagner entwickelte die Idee eines Musikdramas entsagen, nicht nur als boshaft, sondern auch Kompositionsstil einem derart raschen Wandel Quintett und zahllose Chöre vor, im zweiten zum Thema der Nibelungensage 1848, etwa als würdevoll dargestellt wird. unterworfen, dass er ihn mit Tristan Akt der Götterdämmerung ein Chor und ein um die Zeit, als er Lohengrin fertig stellte, die Wagner arbeitete mehrere Jahre lang an Text gewissermaßen durcharbeiten musste. Dass er Trio. Die Oper, mit der der Ring-Zyklus letzte seiner traditionellen Opern. Der Ring des und Musik, angefangen mit einer den Ring doch noch vollenden und aus eigener beginnt, Das Rheingold, liefert ein gutes Nibelungen ist auf zahlreichen Ebenen zu Zusammenfassung der Fabel in Prosa, ehe er Kraft dafür sorgen sollte, dass er in einem Beispiel für die praktische Umsetzung genießen: beispielsweise als Märchen, politische den Text des Werks zu erstellen begann, das er eigens erbauten Theater aufgeführt wurde, Wagnerscher Theorien, aber ehe Wagner sich Allegorie oder philosophisches Traktat. Im Siegfrieds Tod nannte. Im Dezember 1856 grenzt an ein Wunder. mit der Musik befassen konnte, war noch viel Grunde behandelt er den zeitlosen Widerstreit teilte er jedoch einem Freund mit, dass ihn Zu seinen Quellen gehörten fünf Epen, alle zu tun. Zunächst plante er nur eine einzige von gut und böse, den Gegensatz zwischen der die Nibelungen allmählich langweilten; aus dem dreizehnten Jahrhundert, auf Oper, die optimistisch enden sollte, mit einer Liebe zur Macht und der Macht der Liebe. tatsächlich legte er den Ring im folgenden Isländisch, Mittelhochdeutsch und entschiedenen Bestätigung der moralischen Wotan, der oberste der Götter, strebt mit Sommer beiseite und nahm die Arbeit daran Altnordisch. Wie bei allen seinen Opern vor und physischen Überlegenheit der Götter. Die letztendlich guten Absichten nach der Macht; erst wieder 1869 auf – bis dahin hatte er und nach dem Ring verfasste Wagner seine Bemerkung eines Freundes, dass die Fabel vom Alberich, das Oberhaupt der Nibelungen Tristan und Isolde sowie Die Meistersinger von Texte selbst. Allerdings ließ er zum Entsetzen Publikum ein unrealistisches Maß an (unterirdisch lebender Zwerge) erstrebt sie für Nürnberg komponiert. Vom ersten Entwurf bis seiner Freunde angefangen mit Siegfrieds Tod Vorkenntnissen verlange, veranlasste ihn, erst seine eigenen bösen Zwecke. Von Monteverdis zur Fertigstellung brauchte er für das den altehrwürdigen dichterischen Kunstgriff Siegfrieds Tod zu erweitern und dann mit Orfeo bis zu Mozarts Zauberflöte, von Rameaus gigantische Projekt sechsundzwanzig Jahre: des Stabreims wieder aufleben, der statt auf Der junge Siegfried eine Art Vorgeschichte Hippolyte et Aricie bis zu Webers Freischütz hat Jahre des Aufruhrs sowohl in seinem einem Versmaß mit Endreim auf der hinzuzufügen. Als er die Notwendigkeit die Gegenüberstellung von Licht und Schatten Privatleben als auch auf der politischen Bühne Alliteration von Explosivlauten beruht. Dies erkannte, noch weiter in die Vergangenheit stets die Openkomponisten fasziniert. Wagner Europas. entsprach den Theorien, die er in Essays aus zurückzugehen, schrieb er die Libretti zur erkannte, dass nicht alles Schwarz und Weiß ist, Es war nicht nur Langeweile, die Wagner dem Züricher Exil dargelegt hatte und die sich Walküre und zum Rheingold. Der junge sondern dass Grauschattierungen vorherrschen. bewog, den jungen Siegfried unter der Linde unter anderem mit der Interdependenz von Siegfried wurde in Siegfried umbenannt, aus So nimmt Wotan Zuflucht zu Täuschungs- zurückzulassen, wo er sich nach eigenem gesprochenen und musikalischen Klängen Siegfrieds Tod wurde mit erheblichen manövern und Diebstahl und bezeichnet sich Bekunden mit aufrichtigen Tränen von ihm sowie mit der Notwendigkeit befassten, Streichungen und Änderungen die selbst als Alberichs Alter Ego (“Licht-Alberich”), verabschiedete. Nachdem er aus Dresden Gesangstexte verständlich zu halten, weshalb Götterdämmerung; geändert wurde unter

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anderem der Schluss, der nun die Götter in schreiben: So nahm er das Das Rheingold 1853 erhaben war, in Pelléas et Mélisande davon typischsten Klangfarben des Ring liefern die so den Flammen ihrer Feste Walhall umkommen in Angriff, ein Jahr nach Fertigstellung des Gebrauch zu machen): Schlichte genannten Wagner-Tuben (gespielt von sah. In Anerkennung des Einflusses der Librettos, wohingegen er bei der Wiederholung, melodische oder harmonische Mitgliedern der mit acht Musikern besetzten Oresteia und der Prometheus-Dramen des Götterdämmerung, die er 1869 begann, einen Abwandlung und die Kombination mit Hörner), die auch tatsächlich in der zweiten Aischylos beschrieb Wagner den Ring als Text vertonte, den er (wenn auch mit späteren anderen Motiven – speziell gegen Ende des Szene des Rheingold das Walhall-Motiv Trilogie (wobei das Rheingold gewissermaßen Überarbeitungen) zwanzig Jahre zuvor Zyklus – lassen allesamt ein eng verflochtenes intonieren. als Vorspeise diente). geschrieben hatte. Natürlich entwickelte sich Gewirk entstehen. Um 1862 war Wagner nicht mehr aus den Im Jahre 1854 wurde Wagner mit den sein Musikstil über diesen Zeitraum, und die Ganze Bücher sind geschrieben worden, die deutschen Staaten verbannt. Im folgenden Jahr Schriften von Arthur Schopenhauer bekannt Partitur der letztgenannten Oper ist erheblich den verschiedenen Motiven Namen zuordnen, veröffentlichte er eine Ausgabe des Ring-Textes gemacht – “ein Griesgram der subtiler und komplexer als die der Ersten. aber je genauer die versuchte Definition der mit einem Vorwort, in dem er der Hoffnung allerschlimmsten Sorte”, wie P. G. Wodehouses Dennoch werden die vier Opern, so abstrakteren dieser Motive ausfällt, desto Ausdruck gibt, ein deutscher Fürst werde die Bertie Wooster es ausdrückt. Der Schluss der unterschiedlich sie auch sind, durch das schwerer können sie zu fassen sein. Das muss Mittel aufbringen, um den – noch immer Ring-Fabel war schon zuvor revidiert worden; Bindemittel zusammengehalten, das als den neuen Hörer nicht kümmern, der die unvollständigen – Zyklus in einem eigens aber danach, während er mit der Komposition Leitmotiv bekannt ist. Themen nach mehrmaligem Anhören wieder errichteten Theater aufzuführen. Seine Bitte des Zyklus beschäftigt war, verfasste Wagner Musikalische Reminiszenzen waren in der erkennen lernt. Allerdings sind nicht alle wurde bald erhört. Der achtzehnjährige mehrere verschiedene Schlüsse, darunter einen, Oper nichts Neues. Ein bekanntes Beispiel ist Zusammenhänge offensichtlich: Es lohnt sich bayerische Kronprinz bestieg 1864 als der Schopenhauers pessimistische Sicht vom die kurze Phrase der Oboe, die uns im zweiten zum Beispiel, auf die ähnlichen Konturen des Ludwig II. den Thron. Er half Wagner, seine Leben als bloßer Negation des Todes Akt von Beethovens Fidelio klar macht, dass Walhall- und des Ring-Motivs hinzuweisen – Schulden abzubezahlen, quartierte ihn in widerspiegelte. Darin erlangt Brünnhilde einen der schlafende Florestan nun von seiner Frau das eine edel, das andere finster –, die unseren einem Haus in München ein, ließ ihm Zustand buddhistischer Erleuchtung, indem träumt, von der er soeben noch gesungen hat. Eindruck bestätigen oder vielmehr Geldgeschenke und ein Jahresgehalt sie das gesegnete Ende alles Ewigen erreicht. Wagners Leistung war es, ein Geflecht von vorwegnehmen, dass Wotan und Alberich zwei zukommen und ermunterte ihn, mit seinem Dies ist nicht die Fassung, die Wagner Leitmotiven zu schaffen: kurze, Seiten ein und derselben Münze darstellen. großen Werk fortzufahren. schließlich vertont hat, doch sie gibt einen bedeutungsschwere Phrasen, die mit Von den vielen Freuden des Ring ist die Die Beziehung zwischen den beiden hatte Einblick in seine Geistesverfassung um die bestimmten Personen, Objekten, Gefühlen Orchestrierung nicht die geringste. Wagner ihre gute und schlechten Zeiten, um es höflich Zeit, als er den Schluss der Walküre und den und vielem anderem in Verbindung stehen setzt umfangreiche Kräfte ein, doch immer auszudrücken; aber es ist Ludwig zu verdanken, Anfang von Siegfried komponierte. und in der Gesangslinie, vorwiegend jedoch wieder ist es ein einzelnes Holzblasinstrument dass Tristan und Die Meistersinger am Nachdem er die Texte in umgekehrter im Orchester wiederkehren. Sie sind viel mehr – sagen wir eine Oboe oder Bassklarinette –, Hoftheater uraufgeführt wurden, das auch Reihenfolge geschrieben hatte, machte Wagner als die “Visitenkarten”, über die Debussy das eine Situation umreißt oder eine Wiederaufnahmen der früheren Opern Wagners sich daran, die Musik vom Beginn an zu spottete (der selbst keineswegs darüber Gesangsphrase auf den Punkt bringt. Eine der erlebte. Auch das Rheingold und die Walküre

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gelangten gegen den Willen des Komponisten Göttern des Rheingold. Eine leidenschaftliche kraftvoll ist. Es ist behauptet worden, während hier eine gewisse Annäherung zur Aufführung. Wagner war immer noch fest Darbietung des Liebesduetts im ersten Akt Sieglinde sei die einzig wirklich sympathische stattfindet. entschlossen, den gesamten Ring in einem kann das Publikum aufs äußerste und lange Gestalt im Ring (auch wenn der liebeskranke So großartig die Eckakte auch sind, ist es eigenen Theater unter Festspielbedingungen genug in Wallung bringen, um die Riese Fasolt ihr nahekommt): Ihre Musik ist doch wohl der zweite Akt, der Wagner von aufgeführt zu sehen. 1871 legte er sich auf die beunruhigende Tatsache zu vergessen, daß von dem Augenblick an von Zärtlichkeit seiner begnadetsten Seite zeigt. Die fünf Provinzstadt Bayreuth fest. Der Bau des neuen Siegmund und Sieglinde als Geschwister drauf durchdrungen, da sie dem verwundeten Szenen umfassen Wotans allzu kurze Freude, Theaters wurde durch öffentliche Subskription und dran sind, Inzest zu begehen, wenn der Siegmund einen Trunk Wasser reicht. Ihre als er Brünnhilde befiehlt, Siegmund im finanziert, wobei Ludwig in einem kritischen Vorhang fällt. wachsende Erregung, als sie die Geschichte Kampf mit Hunding zu beschützen, und seine Moment zu Hilfe kam. Wagner vollendete die Auch das Ende der Oper, wenn Wotan sich von dem Mann erzählt, der das Schwert in absolute Verzweiflung, stattdessen die Götterdämmerung 1874, und im August 1876 ausführlich von seiner Lieblingstochter den Baumstamm gestoßen hat, während im unwiderlegbare Notwendigkeit von Siegmunds wurde Der Ring des Nibelungen erstmals Brünnhilde (der Walküre des Titels) Orchester die Walhall- und Schwert-Motive Tod einsehen zu müssen und damit das vollständig aufgeführt. Bis 1889 hatte es überall verabschiedet, bietet eine emotionale wogen, ist einer der überwältigendsten Scheitern seines Vorhabens, den Rheintöchtern in der Welt der Oper weitere Inszenierungen Situation, mit der sich jeder identifizieren Momente der Oper. ihr Gold mit Hilfe eines frei Handelnden gegeben; sie sind nach wie vor der Maßstab, an kann: Das Publikum bewegen die Vatergefühle Im dritten Akt gibt Sieglinde auf die zurückzuerstatten. Dazwischen kommt die dem sich jedes nach wahrer Größe trachtende noch mehr als das Dilemma des Gottes. Nach Nachricht hin, daß sie Siegfried gebären soll, Szene mit Fricka, gefolgt von dem weitgehend Opernhaus messen lassen muss. dem dröhnenden Schall des Walkürenritts, den “den hehrsten Helden der Welt”, ihrer Freude als Rezitativ dargeboteten Monolog, bei dem ekstatischen Ausbrüchen Sieglindes und der mit dem meist so genannten “Erlösungsmotiv” er nur scheinbar zu Brünnhilde, in Wahrheit © 2000 Richard Lawrence Wut Wotans sorgt die fast unbewegte Stille der Ausdruck, das erst ganz am Ende der jedoch mit sich selbst spricht. (In der Übersetzung: Anne Steeb/Bernd Müller letzten Szene für einen höchst befriedigenden Götterdämmerung wiederkehrt. Sie geht vorliegenden Aufnahme kann man fast spüren, Schluß. taumelnd ab und tritt nie wieder auf (in wie das Publikum an jedem Wort von Die Walküre Der erste Akt beginnt mit einem Sturm, Siegfried wird uns ihr Schicksal berichtet). Norman Baileys ergreifender Schilderung Wagner komponierte die Musik zur Walküre durch den Siegmund vor seinen Feinden Nachdem die versammelten Walküren aus hängt.) Wotan heißt das Ende seiner Macht zwischen November 1854 und März 1856. Es flieht. Und auch am Ende des Akts ist er auf Furcht vor dem Zorn ihres Vaters entflohen willkommen und berichtet, wie Alberich ist nicht schwer zu erkennen, warum sie die der Flucht; in Verbindung mit seinem sind, gehört die Szene allein Wotan und darauf hinarbeitet, indem er eine Frau gegen populärste der Ring-Opern ist und am ehesten Selbstmitleid läßt ihn das anfangs als eine der Brünnhilde. Ihr dialektischer Austausch Gold verführt, um einen Verbündeten zu von allen für sich allein aufgeführt wird. Es weniger liebenswerten Figuren des Rings erinnert an die Auseinandersetzung zwischen zeugen (er läßt damit anklingen, daß Siegfried treten darin zum ersten Mal sterbliche erscheinen, doch Wagner zwingt uns, Wotan und Fricka im zweiten Akt, mit dem und Alberichs Sohn Hagen, die in der Menschen auf, im Gegensatz zu den Sympathie für ihn zu empfinden, indem er Unterschied, daß Wotan dort von Frickas Götterdämmerung aufeinandertreffen, fast Rheintöchtern, Nibelungen, Riesen und ihm Musik zuordnet, die zugleich zärtlich und erbarmungsloser Logik bezwungen wird, genau gleich alt sind).

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Im Anschluß an eine Szene für die Reginald Goodall – Krieg in Covent Garden eine Menge von Mr. hatte, da ich meinte, dass das kleine Sadler’s- Liebenden auf der Flucht hat Brünnhilde ihren eine persönliche Bewertung von Brian Ward Goodalls Darbietungen gehört und Wells-Orchester und die eher trockene Akustik feierlichen Auftritt als Todesbotin vor Gelegentlich trifft man zu einem Konzert oder bewundert, als er regelmäßig aus heutiger des Theatersaals einem Werk dieser Art Siegmund. Er stellt ihr sechs Fragen, die sie einer Opernaufführung in einer Sicht für ihn ungewohnte Werke wie Carmen, abträglich wären. Wie es sich ergab, war ich jeweils beantwortet. Bei Siegmunds Geistesverfassung ein, die es so gut wie Manon, La traviata, Aida und Il trovatore im Unrecht, denn ich hörte eine Aufführung, Erwiderung, seiner Weigerung, ihr ohne unmöglich macht, die Darbietung zu dirigierte, aber keine hatte mich veranlasst, auf die trotz einiger gesanglicher Sieglinde nach Walhall zu folgen, betont genießen, und es besteht kein Zweifel, dass der eine Wagner-Interpretation gefasst zu sein, die Unzulänglichkeiten auf ihre Weise so Wagner die Aussage, indem er in einer Art Abend des 5. März 1954 ein solcher Anlass zu von so tiefem Verständnis und solcher aufregend war wie die großartige Walküre in mechanischer Steigerung Phrase um Phrase werden versprach. Erhabenheit geprägt war wie jene, die ich an Croydon einige Jahre zuvor. jeweils die Tonlage erhöht. Siegmunds Alles war schief gelaufen: Ich war eigens mit diesem Abend hörte. Bis dahin hatten Goodalls Wagner- Standhaftigkeit führt im Endeffekt dazu, daß dem Auto nach Croydon im Süden Londons Von dem Augenblick an dachte ich oft an Interpretationen unter den Musikkritikern Brünnhilde menschliche Liebe verstehen lernt, gefahren, um Die Walküre mit Ludwig die Möglichkeit eines Ring-Zyklus unter der keine besondere Aufmerksamkeit erregt, doch was bedeutsame Folgen zeitigt. Hinzu kommen Hofmann (dem aus der Vorkriegszeit Stabführung von Mr. Goodall, aber es wurde vom Tannhäuser schrieb Peter Heyworth in der Siegmunds Zärtlichkeit angesichts der berühmten deutschen hohen Bass) in der Rolle im Lauf der Zeit immer deutlicher, dass damit Zeitschrift Opera: schlafenden Sieglinde, ihr kurzer Albtraum und des Wotan zu hören. Doch ich war verspätet nicht zu rechnen war. Unter seiner Leitung Mr. Goodall hat ein herrliches Gespür für die der tödliche Kampf. Innerhalb weniger aus dem Büro weggekommen, nur um mitten wurden Gloriana und Boris Godunow, Fidelio Breite und Erhabenheit der Musik, doch ist Sekunden äußern Wotan und das Orchester im Berufsverkehr eine Reifenpanne zu und Turandot, Peter Grimes, Wozzeck und seinen Tempi und Rhythmen keinerlei Trägheit ihre Verachtung für Hunding, Trauer um erleiden, und als ich schließlich ankam, stellte Troilus and Cressida wieder aufgenommen, oder Mangel an Lebendigkeit nachzusagen. Die Siegmunds Tod und Zorn über Brünnhildes sich heraus, das Herr Hofmann nicht auftreten aber nichts, was von Grund auf von Mr. Weiträumigkeit, die er der Partitur vermittelt, Ungehorsam: das prägnante und eindrucksvolle würde. Fünf Stunden später verließ ich das Goodall erarbeitet worden wäre. Erst sieben lässt jedes Detail mit gefasster Leichtigkeit Ende eines makellos geführten Akts. Davis Theatre in einem solchen Zustand Jahre später hörte ich eine weitere Wagner- hervortreten, ohne dass es seiner Interpretation Die Walküre wurde 1870 in München höchster Erregung, dass ich mit Freuden zu Aufführung, die mich erneut erkennen ließ, an dramatischer Spannung fehlte, und er setzt uraufgeführt. Die erste Darbietung im Fuß nach Hause gewandert wäre – ich hatte was für einen bedeutenden Wagner-Dirigenten seine Höhepunkte mit untrüglicher Präzision. Rahmen des vollständigen Ring-Zyklus fand eine Aufführung gehört, wie ich sie nur unter wir an ihm hatten und wie sehr er Vor allem besitzt er die bemerkenswerte im August 1876 bei den Festspielen von der Leitung von Knappertsbusch oder vernachlässigt wurde. Fähigkeit, einen von Wagners enormen Akten als Bayreuth statt. Furtwängler für möglich gehalten hätte. Der Der Anlass war eine Wiederaufnahme des sich entfaltende Einheit zu offenbaren – und das Dirigent an jenem Abend war Reginald Tannhäuser am Sadler’s Wells Theatre im ist bei einem in vielerlei Hinsicht so unreifen © 2000 Richard Lawrence Goodall. Oktober 1960, zu deren Besuch ich mich mit Werk wie Tannhäuser keine geringe Leistung. In Übersetzung: Anne Steeb/Bernd Müller Natürlich hatte ich unmittelbar nach dem einer gewissen Beklommenheit durchgerungen der Tat wirken seine Höhepunkte im Verhältnis

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zu den geringen Kräften, die ihm zur Verfügung einer Produktion zu tun, die gründlich aber Mr. Goodall hatte sich auch der Dienste Weltherrschaft verleiht. Damit ist er nach stehen, deshalb so machtvoll, weil sie aus der vorbereitet statt bloß wieder aufgenommen zahlreicher Neulinge (zumindest in großen Nibelheim hinabgestiegen und hat die organischen Entwicklung der Musik erstehen. war, und endlich konnten wir feststellen, Wagner-Rollen) versichert: Zusätzlich zu Nibelungen versklavt, die er nun zwingt, Mr. Goodall ist ein Respekt einflößender inwieweit Mr. Goodall in Zusammenarbeit großartigen Beiträgen der oben Genannten in weiteres Gold für ihn zu schürfen. Wagner-Interpret. Es ist zutiefst zu hoffen, dass mit engagierten Künstlern wie Norman Bailey, den Rollen Wotan/Wanderer, Die Riesen Fasolt und Fafner haben, sein erneutes Auftreten am Sadler’s Wells Theatre Alberto Remedios, Gregory Dempsey, Derek Siegmund/Siegfried, Mime, Alberich und nachdem sie Walhall für Wotan erbaut haben, eine scharfsichtigere Würdigung seines seltenen Hammond Stroud und später auch Clifford Hagen/Hunding hatten wir die herrliche Freia zum Lohn gefordert, die Göttin der Talents darstellt, als es die Covent Garden Opera Grant einen Hausstil zu prägen verstand. Brünnhilde von Rita Hunter und ewigen Jugend, doch auf den Rat des bewiesen hat, zu deren Stab er gehört. Ich hatte das Glück, mehrere Meistersinger außerordentlich überzeugende Darstellungen Feuergotts Loge hat Wotan ihnen stattdessen Wie Mr. Heyworth erhoffte auch ich mir am Sadler’s Wells Theatre und im London von Könnern wie Emile Belcourt, Ann das Nibelungengold geboten. Sie haben das mehr von Mr. Goodall, aber vergebens: In der Coliseum zu erleben, und obwohl ich eine Howard und Katherine Pring, um nur einige Angebot angenommen. Wotan und Loge sind folgenden Spielzeit in Covent Garden Anzahl von Aufführungen unter Rankl, Krauss der vielen zu nennen, die diese Aufführungen nach Nibelheim hinabgestiegen und haben dirigierte er gar nichts. In der Saison 1962/63 und Beecham gesehen und zahlreiche so unvergesslich machten. Alberich durch eine List um seinen Hort gab es nur eine einzige Produktion, Der Rundfunkübertragungen aus Bayreuth gehört Auch wenn er der Erste wäre, dies gebracht: Sie haben ihm den zauberkräftigen goldene Hahn, und danach fünf Jahre lang hatte, waren sie für mich eine Offenbarung; abzustreiten, ist Reginald Goodall der Tarnhelm geraubt, dessen Träger sich auf keine einzige mehr. Erst Anfang 1968 hatten desgleichen für die Kritiker, die Mr. Goodall eigentliche Held, dessen Genie die treibende Wunsch verwandeln kann, sowie den Ring, wir wieder Gelegenheit, diesem sogleich als “größten lebenden Wagner- Kraft hinter dem Sadler’s-Wells-Ring war den Wotan selbst behalten wollte. Die Riesen außerordentlichen Mann zu lauschen. Diesmal Dirigenten” zu bezeichnen begannen – eine und dem alle Wagner-Liebhaber ewig dankbar waren jedoch erst zufrieden, als ihnen alles jedoch kam es zu einer Reihe von Tatsache, die einigen von uns seit fünfzehn sein sollten. ausgehändigt war, auch der Ring. Wotan, der Aufführungen, die das Opernpublikum (und Jahren bekannt war. Wie es weiterging, ist sich zunächst nicht von dem Ring trennen die Kritiker) bis ins Mark erschütterten. Mit natürlich wohl bekannt: die Gerüchte von © 1974 Brian C. Ward wollte, hat auf die Weltmutter Erda und ihre der Begründung, dass beide Sadler’s-Wells- einem Ring-Zyklus, die Neuinszenierung der Übersetzung: Anne Steeb/Bernd Müller, 2000 Warnung vor dem Fluch gehört, mit dem Truppen gerade gleichzeitig in London Walküre am Coliseum und im Lauf der Jahre Alberich den Ring belegt hat, und ihn weilten, wurde eine Neuinszenierung der der allmähliche Aufbau eines vollständigen Die Vorgeschichte der “Walküre” schließlich herausgerückt. Meistersinger von Nürnberg angekündigt, die Zyklus, der im August 1973 erstmals zu hören Im Rheingold hat der Zwerg Alberich, der Der Fluch hat sofort seine Wirkung getan, die Ressourcen des vereinigten Ensembles war und für den sechsmal so viele Karten Nibelung, das Gold gestohlen, das von den denn Fafner hat Fasolt getötet und den ganzen nutzen sollte, und am 31. Januar 1968 fand bestellt wurden, wie zur Verfügung standen! Rheintöchtern bewacht wurde, und indem er Hort an sich genommen. Obwohl sie über den die erste einer großartigen Serie von Wagner- Viele Sänger der Originalbesetzung der der Liebe entsagt hat, ist es ihm gelungen, Ausgang der Ereignisse besorgt waren, sind die Darbietungen statt. Endlich hatten wir es mit Meistersinger von 1968 traten im Ring auf, einen Ring zu schmieden, der ihm die Götter im Triumph in Walhall eingezogen,

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begleitet vom Klagen der Rheintöchter über abzuwenden – sie antwortet, dass Unheil widerwillig, mit vielen bedeutungsvollen Wehwalt, seien im Ehebund vereint. den Verlust ihres Goldes. bereits unter diesem Dache wohne. Er sagt zu Blicken auf den Baumstamm, um den die 16 – 17 Die Frau preist Wehwalt als ihren ihr, sein Name sei Wehwalt. Hütte gebaut ist. Mit einer letzten Warnung Lenz, und während sie zärtliche Worte Inhaltsangabe Hunding kehrt heim, angekündigt durch folgt ihr Hunding. wechseln 18 , geht ihr auf, dass ihr nur ihr einen bedrohlichen Ruf der Wagner-Tuben. 11 Es wird Nacht. Wehwalt ist allein und eigenes Spiegelbild, das Echo ihrer eigenen CD 1 5 Die Frau erklärt, sie habe einem Flüchtling unbewaffnet; er kann sich nur entsinnen, dass Stimme näher ist als er. Als er erwähnt, dass Unterschlupf geboten. 6 Hunding verkündet Wolfe ihm im Augenblick der Not ein Schwert sein Vater nicht Wolfe, sondern Wälse gewesen Erster Akt die Unverletzlichkeit des Gastrechts, bemerkt verheißen hat. Er ruft seinen Vater (“Wälse! und er selbst ein Wälsung sei, ist sie von In einer Hütte die Ähnlichkeit der beiden und verlangt die Wälse!”) und verlangt nach der Waffe. Die Freude überwältigt. Sie weiß, er ist ihr Bruder, 1 Ehe der Vorhang aufgeht, hört man einen Lebensgeschichte des Gastes zu hören. letzte Glut des Herdfeuers wirft ein Licht auf und sie verleiht ihm seinen rechtmäßigen Sturm wüten. Als er abflaut, eilt ein Mann 7 – 8 Wehwalt erklärt, seine Mutter sei von den Baum, in dem ein Schwert haftet – aus Namen Siegmund. 19 – 20 Er springt auf, tritt herein, eindeutig zu erkennen als das Räubern erschlagen, seine Zwillingsschwester dem Orchester lässt eine Trompete das an den Baum, zieht das Schwert heraus, nennt erschöpfte Opfer einer Verfolgungsjagd. entführt worden, als er noch ein Knabe war; Leitmotiv des Zauberschwerts erklingen. es bei seinem Namen Nothung und bietet es 2 Er sinkt auf der Decke vor dem Herdfeuer sein Vater, genannt Wolfe, habe ihn 12 Im Schutz der Dunkelheit kehrt als Brautgabe dar. Die Frau offenbart, dass sie zusammen und erklärt vernehmlich sein herangezogen, sei aber dann verschwunden. Hundings Weib zurück; sie hat ihrem Gatten seine Schwester Sieglinde ist. “So blühe denn, Bedürfnis zu rasten, ganz gleich, in wessen Er selbst werde von allen Menschen gemieden. einen betäubenden Schlaftrunk verabreicht Wälsungenblut!” ruft er und schließt sie in die Heimstatt. Auf den Lärm hin tritt eine Frau 9 Er habe Hundings Hütte nach einem und fleht nun den Fremden an, das Schwert Arme, als der Vorhang fällt. aus dem Innern der Hütte; sie ist verblüfft, Kampf erreicht, bei dem er einem Mädchen zu zu erringen. 13 Bei ihrer Hochzeit war ein einen Fremden anzutreffen, doch erleichtert, Hilfe gekommen sei, das zu einer Ehe ohne grau gekleideter Fremder hinzugetreten und CD 2 ihn lebendig, wenn auch bewusstlos Liebe gezwungen werden sollte. Sie und ihre hatte die Klinge in den Baumstamm gestoßen. vorzufinden. Der Mann bittet um einen ganze Sippe seien getötet worden; nur er, Das Orchester teilt uns mit, dass es sich um Zweiter Akt Trank, und sie holt ihm Wasser in einem Wehwalt, sei entkommen. Wotan gehandelt hat. Keinem der Gäste Ein wildes Felsengebirge Trinkhorn, um ihn zu erfrischen. 3 Er 10 Hunding fährt wütend auf; dies ist der gelang es, das Schwert herauszuziehen, da 1 Die Flucht des Paars wird im erfährt, dass sie und die Hütte ihrem Gatten Feind, gegen den seine Sippschaft ihn zu den wusste sie, dass es dort ihres Retters harrt – Orchestervorspiel zum zweiten Akt dargestellt, Hunding gehören. Sie kredenzt ihm Met aus Waffen gerufen hat und der nun Schutz in möge es doch Wehwalt sein! 14 Sie fallen sich einer wilden und leidenschaftlichen der Speisekammer, und die Musik teilt uns seiner Hütte sucht. Das Gastrecht bindet sie in die Arme und werden plötzlich von hellem sinfonischen Umsetzung der Themen, die mit mit, dass die beiden in Liebe zueinander für die Nacht, doch am Morgen müssen sie Mondlicht bestrahlt, das ihrer Liebe den Segen Nothung, der Flucht und der Liebe zwischen entbrannt sind. 4 Doch der Mann will auf den Tod fechten. Er schickt sein Weib, den der Natur zu verleihen scheint. 15 Der Lenz Siegmund und Sieglinde in Verbindung enteilen, um Unheil von seiner Gastgeberin Nachttrunk zu holen – sie geht nur und dessen Schwester, die Liebe, sagt stehen. Allmählich wird die Musik donnernder

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und grandioser, um uns auf die Unsterblichen Wotan noch Brünnhilde sollen ihn 2 Erneut erklingt die Fluchtmusik, als niederzustrecken. Rasch wendet sich vorzubereiten, in deren Reich die Handlung beschützen; das Schwert soll seine Zauberkraft Siegmund und Sieglinde herbei eilen. Brünnhilde und trägt die ohnmächtige nun übergeht. Vom Felsengipfel herab verlieren. 9 Triumphierend befiehlt Fricka der 3 – 4 Sieglinde will keinen Augenblick Sieglinde davon. Wotan steht über Hunding beobachtet Wotan die Szene mit seiner heimkehrenden Brünnhilde, Wotans neue innehalten – sie meint bereits Hunding zu und schickt seinen Geist mit einem Lieblingstochter, der Walküre Brünnhilde. Er Anweisungen entgegenzunehmen. 10 Seiner vernehmen, der die Verfolgung aufgenommen verächtlichen Winken als Bote ihres Siegs zu befiehlt ihr, als Werkzeug seines Willens Lieblingstochter klagt Wotan sein Leid und hat. Doch Ermattung siegt über die Angst, Fricka. Brünnhilde dagegen verheißt er Siegmund im bevorstehenden Kampf mit seine Entrüstung. 11 – 13 Er verfolgt ihr und sie sinkt bewusstlos in Siegmunds Arme. furchtbare Strafe für ihren Ungehorsam. Hunding zu beschützen. 2 Freudig läßt gegenüber, wie zu sich selbst, den 5 – 6 Während er sie auf einem Fels sitzend Brünnhilde ihren Schlachtruf erklingen: entscheidenden Konflikt zu seinem Ursprung umschlungen hält, erscheint Brünnhilde wie CD 4 “Hojotoho!” Sie ermahnt Wotan, auch sich zurück und erinnert an die Ereignisse im eine Traumgestalt und klärt ihn über das selbst zu wappnen; sein Weib Fricka, die Rheingold – eine Rekapitulation, die für Herannahen des Todes und seinen Einzug in Dritter Akt Hüterin der Häuslichkeit, naht in ihrem Wagners sinfonischen Gesamtplan notwendig Walhall an ihrer Seite auf. 7 – 8 Doch Auf dem Gipfel eines Felsengebirges Streitwagen. und nicht nur eine Möglichkeit ist, das Siegmund will sich nicht von Sieglinde 1 Das Orchestervorspiel beschreibt den Ritt 3 Fricka ist gekommen, um auf dem Sieg Publikum auf dem Laufenden zu halten. trennen; er droht, sie und ihr ungeborenes der Walküren (der kriegerischen Töchter ehelicher Moral und der Bestrafung des 14 – 15 Die Erzählung bestärkt Wotan in Kind zu töten. 9 Brünnhilde beschließt, sich Wotans von der Weltmutter Erda) durch die blutschänderischen Liebespaars zu bestehen. seinem Glauben, dass das Ende aller Dinge Wotan zu widersetzen und beide zu retten Lüfte zu ihrer Versammlungsstätte auf einem 4 – 6 Hätte sie die Liebe zwischen bevorsteht, wenn nicht ein Held aus freien (obwohl sie natürlich nur zu tun anhebt, was Berggipfel. Als der Vorhang aufgeht, sieht man Siegmund und Sieglinde gesegnet, wie es Stücken eingreift und es verhindert; das Ende Wotan wirklich wünscht). Sie eilt davon. sie nacheinander zusammenkommen, ehe sie Wotan wünscht, wäre es mit der moralischen aber erstrebt Alberich der Nibelung 16 , der 10 Siegmund legt die schlafende Sieglinde mit den in der Schlacht gefallenen Helden Überlegenheit der Götter vorbei gewesen. Sie mit diesem Ziel vor Augen mittels Bestechung sanft zu Boden und bereitet sich auf den gemeinsam gen Walhall reiten. 2 Zuletzt hält ihm alle vergangenen Seitensprünge vor, einen Sohn namens Hagen gezeugt hat. Kampf vor, als auch schon Hundings erscheint Brünnhilde, die statt des toten und als er ihr erklärt 7 , dass er eines frei 17 – 18 Wotan erteilt Brünnhilde ihren Hornsignal zu hören ist. 11 Sieglinde erwacht Siegmund die lebende Sieglinde bei sich im Handelnden bedürfe, entgegnet sie, der von Auftrag: seinen Willen zu missachten und für aus einem Albtraum und stellt fest, dass sie Sattel hat. 3 Brünnhilde beschwört ihre ihm erkorene Siegmund sei keineswegs frei, Fricka zu fechten. allein ist, gerade als 12 Hunding auf der Walkürenschwestern, ihr behilflich zu sein, sondern stets von Wotan gelenkt worden. Passhöhe Siegmund entgegentritt. Brünnhilde Sieglinde zu verbergen; Wotan sei hinter ihnen Er könne darum seine Aufgabe nicht erfüllen. CD 3 schwebt über ihnen und schützt Siegmund, als her und werde sie bald beide seine Rache 8 Niedergeschlagen gesteht ihr Wotan Punkt plötzlich Wotan erscheint. Siegmunds Schwert spüren lassen. Keine andere Walküre wagt es, um Punkt all ihre Forderungen zu: Siegmund 1 Wotan stürmt davon; Brünnhilde verlässt zerbricht an Wotans Speer, sodaß Hunding Wotans Zorn zu trotzen, und 4 Sieglinde muss von Hunding erschlagen werden; weder die Szene langsamer, zutiefst betrübt. freie Bahn hat, seinen Gegner selbst ersehnt nur den Tod, bis Brünnhilde sie

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von dem Wälsungenhelden unterrichtet, der in Willen vollstreckt. 15 – 17 Sie habe Siegmund durchschreiten können. Langsam entfernt sich (Les Troyens), Max, Erik, Siegfried, Bacchus ihrem Schoß heranwächst: Sieglinde könne behütet, weil sie ihn liebe. Wotan habe diese der Gott. Seine Macht ist am Ende. Das und Mark (in Sir Michael Tippetts The sich nur in Sicherheit bringen, indem sie allein Liebe geschaffen und mit ihr den Willen, Schicksal der Welt ruht bei seinem Enkel, dem Midsummer Marriage) zu singen. Er ist auch in den tiefen Wald fliehe, den der Drache Fricka den Gehorsam zu verweigern. Sie habe Helden Siegfried, und der zum bloßen Weib an der Welsh National Opera sowie der Fafner bewacht; 5 dort müße sie ihr Kind im ihre Pflicht nicht verraten, sondern erfüllt. gewordenen Halbgöttin, die allein auf dem Scottish Opera aufgetreten und war zwei Jahre Verborgenen gebären, ihm die Stücke vom Wotan ist tief bewegt, lässt sich aber nicht Felsengipfel ruht. an den Städtischen Bühnen Frankfurt am zerborstenen Schwert seines Vaters überreichen erweichen. 18 Sie gemahnt ihn an die Main engagiert. Sein Debüt an der und ihm den Namen Siegfried geben. Wälsungen, seine eigenen Kinder, und William Mann, 1976 Metropolitan Opera New York gab er als 6 Sieglinde macht in einem wunderbaren versucht ihn umzustimmen, indem sie ihm Übersetzung: Anne Steeb/Bernd Müller, 2000 Bacchus, und außerdem ist er in San Francisco lyrischen Erguss ihrer Dankbarkeit und Freude verrät, dass sie Sieglinde samt ihrem (als Dimitri und Don Carlos), Los Angeles, Luft, ehe sie davoneilt. 7 Brünnhilde verbirgt ungeborenen Kind und das von Wotan Alberto Remedios, der zu den führenden San Diego und Seattle (als Siegfried), in sich zwischen ihren Walkürenschwestern, als geschmiedete Schwert gerettet hat; Wotan britischen Heldentenören seiner Generation Boston (als Gounods Faust) und am Teatro Wotan auf den Gipfel stürmt und wütend erinnert sie, dass er es war, der das Schwert zählt, studierte in Liverpool bei Edwin Francis colón in Buenos Aires (als Peter Grimes) nach ihr ruft. 8 – 9 Verachtungsvoll tut er zertrümmert hat. Brünnhildes Schicksal sei sowie am Royal College of Music und gab sein aufgetreten. Mit Dame Joan Sutherland war er das Flehen der Walküren um Milde ab und nicht abzuwenden; 19 sie müsse in Debüt an der Sadler’s Wells Opera (der in Australien als Edgar (Lucia di befiehlt ihr, sich zu stellen. 10 Sie habe, sagt Zauberschlaf verfallen. 20 – 21 Nur eines späteren English National Opera) als Tinca in Lammermoor), Alfredo, Lenski und Faust auf er, ihre eigene Strafe geschaffen, denn sie sei gesteht er ihr zu: Sie wird von einer Waberlohe Il tabarro. Zu seinen zahlreichen Rollen mit Tournee, und seine engen Beziehungen zu ein Teil von ihm. Er verkündet sein Urteil: Sie umgeben sein, die wenigstens die Feiglinge dem Ensemble zählen Don Ottavio, Tamino, dem Land hatten Aufführungen mit Opera soll nicht mehr Walküre sein, 11 nicht mehr abhält. Wotan hebt sie vom Boden auf und Max (Der Freischütz), Alfredo, Faust (sowohl Australia als Florestan, Siegmund, Radames in Walhall weilen und Wotan nie wieder beginnt Abschied von ihr zu nehmen. in Gounods gleichnamiger Oper als auch in und Otello zur Folge, daneben Auftritte in sehen. Hier auf dem Felsen soll sie wehrlos Mit einem Kuss auf die Augen entzieht er La Damnation de Faust von Berlioz), Des Melbourne, Adelaide und Brisbane. Königin schlummern, bis sie dem ersten ihr das Göttertum und versetzt sie in Schlaf; Grieux (Manon), Samson (Samson et Dalila), Elisabeth II. hat Alberto Remedios 1981 den vorbeikommenden Mann anheim fällt, der sie dann bettet er sie mit Helm und Speer auf den Lenski, Erik (Der fliegende Holländer), Orden eines Commander of the Order of the in Besitz nimmt und zur häuslichen Habe Berg. 22 Feierlich zeigt er mit seinem Speer Lohengrin, Walther von Stolzing British Empire verliehen. macht. 12 Wotan verscheucht die auf einen Felsen und ruft den Feuergott Loge (Die Meistersinger von Nürnberg), Tristan, aufbegehrenden Walküren. herbei, der den Gipfel mit einem Feuerkreis Siegmund, Siegfried und Bacchus (Ariadne auf Der australische Bass Clifford Grant 13 – 14 Brünnhilde liegt dahingestreckt. umgeben soll. 23 Wotan belegt den Berg mit Naxos). An der Royal Opera Covent Garden absolvierte seine Ausbildung in Sydney, Nach langer Pause beginnt sie sich zu einem Zauberbann: Niemand, der seine debütierte er als Dimitri (Boris Godunow) und Melbourne und London; er gab sein verteidigen; sie habe nur Wotans wahren Speerspitze fürchtet, soll das magische Feuer kehrte dorthin zurück, um Florestan, Aeneas Operndebüt mit der New South Wales Opera

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Company als Raimondo in Lucia di Les Huguenots aufgetreten war, verabschiedete Royal Opera Covent Garden ist er als beitrat. Dort debütierte sie als Micaela Lammermoor. Danach ging er an die Sadler’s er sich von der Oper, kehrte jedoch 1993 auf Balstrode (in Peter Grimes, auch auf Tournee (Carmen) und sang dann neben vielen anderen Wells Opera (die spätere English National die Bühne zurück, um an der Opera North in Palermo), Germont (La traviata), Ford Partien La Musica (Monteverdis Orfeo), die Opera), wo er als Seneca (L’incoronazione di Alvise Badoero in La Gioconda zu singen. Er (Falstaff), Wolfram (Tannhäuser), Kurwenal Gräfin (Le nozze die Figaro), Pamina, Ninetta Poppea), der Komtur (Don Giovanni), Sarastro hat mit namhaften Künstlern wie Dame Joan (Tristan und Isolde), Donner (Das Rheingold), (La gazza ladra), Maria Stuarda (in Donizettis (Die Zauberflöte), Silva (Ernani), Pater Sutherland, Otto Klemperer, Sir Adrian Boult Wotan (Die Walküre), Klingsor und Amfortas gleichnamiger Oper), Violetta, Elisabeth de Guardiano (La forza del destino), Philipp II. und Sir Colin Davis zusammengearbeitet. (Parsifal), Jochanaan (Salome) und der Valois (Don Carlos), Santuzza (Cavalleria (Don Carlos), Heinrich der Vogler (Lohengrin), Musiklehrer (Ariadne auf Naxos) aufgetreten. rusticana), sowohl Mimi als auch Musetta (La Pogner (Die Meistersinger von Nürnberg), Der in Südafrika geborene Bassbariton Zu seinen jüngsten Rollen gehören Oroveso bohème), Marguerite (La Damnation de Faust) Fafner, Hunding und Hagen (Der Ring des Norman Bailey studierte in Wien und (Norma), Banquo (Macbeth), der König und Ellen Orford (Peter Grimes). Zu ihren viel Nibelungen) sowie in tragenden Rollen in verbrachte die Anfangsjahre seiner Laufbahn (Aida), der Doktor (Wozzeck) und Schigolch beachteten Wagner-Darbietungen mit dem Il barbiere di Siviglia, Rigoletto, Madama in Österreich und Deutschland. Dann ging er (Lulu). Seine internationale Karriere hat ihn Ensemble gehörten Elsa (Lohengrin), Eva (Die Butterfly, Manon, Oedipus Rex und Peter nach Großbritannien, wo er an allen an bedeutende Opernbühnen und Festivals in Meistersinger von Nürnberg), Sieglinde, Grimes auftrat. Seine sonstigen Engagements bedeutenden Opernhäusern gesungen hat. Als ganz Europa und den USA geführt; so war er Brünnhilde und Gutrune. Sie war an der umfassten die Partie des Doktor Bartolo einer der führenden Wagner-Sänger seiner mehrere Spielzeiten in Bayreuth beschäftigt britischen Erstaufführung von Mozarts Lucio (Le nozze di Figaro) an der Royal Opera Generation ist er besonders in der Titelrolle und hat mit Dirigenten wie Sir Colin Davis, Silla am Camden Theatre beteiligt, hat an Covent Garden, Auftritte in Nabucco und der des Fliegenden Holländer und als Hans Sachs Sir Georg Solti, James Levine, Carlo Maria mehreren Opernbühnen Kontinentaleuropas Zauberflöte an der Welsh National Opera, in den Meistersingern von Nürnberg bekannt Giulini, Wolfgang Sawallisch, Claudio Abbado gastiert und beim Internationalen Wettbewerb Nettuno (Il ritorno d’Ulisse in patria) an der geworden. Außerdem hat er den Landgrafen und Daniel Barenboim zusammengearbeitet. in Sofia einen Preis gewonnen; außerdem war Glyndebourne Festival Opera, Hunding an der im Tannhäuser an der Opera North und Für Chandos hat er die Titelrolle von Sir sie als Konzertsängerin viel beschäftigt. Opéra de Marseille, Alidoro (La Cenerentola), Wotan/Wanderer sowie Gunther an der Michael Tippetts King Priam aufgenommen. Oroveso (Norma), Matteo (Aubers Fra English National Opera gesungen; als Mitglied Im Anschluß an ihre Gesangsausbildung in Diavolo), Sparafucile (Rigoletto), den König dieses Ensembles gab er unter anderem auch Margaret Curphey, in Douglas auf der Isle of Liverpool bei Edwin Francis und später unter (Aida), Lodovico (Otello) und Hagen sowie Don Pizarro (Beethovens Leonore), den Grafen Man geboren und an der Birmingham School anderem bei Dame Eva Turner ging Rita Rollen in I puritani, Il trovatore und von Luna (Il trovatore), Alfio (Cavalleria of Music ausgebildet, ist als lyrischer Sopran Hunter als dramatischer Sopran mit der Carl Tannhäuser an der San Francisco Opera, rusticana), Scarpia (Tosca), den Vater (Hänsel mit Opera for All auf Tornee gegangen und Rosa Opera Company auf Tournee, ehe sie als außerdem Nilakantha (in Delibes’ Lakmé) und und Gretel), Fürst Gremin (Eugen Onegin), hat zwei Jahre dem Chor des Glyndebourne Solistin an die Sadler’s Wells Opera (die Pimen (Boris Godunow) in Sydney. Nachdem Kutusow (Prokofjews Krieg und Frieden) und Festival angehört, ehe sie der Sadler’s Wells spätere English National Opera) engagiert er 1990 an der Opera Australia in Meyerbeers den Förster (Das schlaue Füchslein). An der Opera (der späteren English National Opera) wurde. Dort sang sie unter anderem

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Marcellina, Donna Anna, Odabella (Attila), Brünnhilde gegenüber deren Sieglinde an der Dame in Bernsteins Candide) sowie an der Tristan und Isolde, den Ring des Nibelungen, Leonora (Il trovatore), Amelia (Un ballo in Metropolitan Opera), Carlo Maria Giulini, Opera North (als Schankwirtin in Boris die Titelrolle in Elektra sowie Ariadne auf maschera), Elisabeth de Valois (Don Carlos), Lorin Maazel, Sir Yehudi Menuhin, Sir Simon Godunow) aufgetreten. Sie hat ihre Naxos, Jenu˚fa (Kostelnicka Buryovká) und Santuzza, Musetta (La bohème), Senta und Rattle und Richard Hickox zusammengearbeit. internationale Karriere auf Kontinentaleuropa Peter Grimes umfasst. Zu den Dirigenten, mit Fata Morgana (in Prokofjews Die Liebe zu den Neben vielen anderen Ehrungen wurde Rita und Nord- und Südamerika verteilt: In denen sie gearbeitet hat, gehören Claudio drei Orangen). Anfang der 1970er-Jahre erregte Hunter 1980 der Orden CBE (Commander of Opernrollen war sie einerseits in ganz Abbado, Giuseppe Sinopoli, Carlo Maria sie weltweite Aufmerksamkeit mit ihrer the Order of the British Empire) verliehen. Frankreich, an der Bayerischen Staatsoper, der Giulini, Wolfgang Sawallisch, Sir Charles Interpretation der Brünnhilde; diese Rolle hat Wiener Staatsoper, am Teatro San Carlo in Mackerras, Sir Edward Downes, Sir Colin sie seither in aller Welt dargeboten, und bald Nachdem sie ein Stipendium der Royal Opera Neapel, in Genua und Lissabon zu sehen, Davis, Mark Elder, Lorin Maazel, James darauf gab sie ihre Debüts in Berlin, an der gewonnen hatte, ging die in London geborene andererseits in Edmonton, Montreal, Los Levine und Seiji Osawa. Royal Opera Covent Garden in London, an Mezzosopranistin Ann Howard zum Studium Angeles, New York (an der Metropolitan der New Yorker Metropolitan Opera (wohin nach Paris und trat nach ihrer Rückkehr aus Opera ebenso wie an der New York City Die internationale Karriere der Sopranistin sie mehrere Spielzeiten hintereinander Frankreich der Sadler’s Wells Opera (der Opera), Washington D.C., Baltimore, Santa Anne Evans hat sie an bedeutende zurückkehrte), in München, San Francisco, späteren English National Opera) bei. Zu Fe, Mexico City und Santiago. Opernbühnen in Europa, Nord- und New Orleans sowie in Australien, einem Land, ihren dortigen Rollen gehörten Azucena, Südamerika geführt, mit einem Repertoire, das mit dem sie besonders enge Beziehungen Prinzessin Eboli, Musetta (La bohème), Elizabeth Connell hat sich mit Partien im sich besonders auf die deutsche Oper knüpfte und wo sie sich 1985 auf Dauer Carmen, Dalila, Concepción (L’Heure dramatischen Sopranrepertoire einen Namen konzentriert, von Beethoven (Leonore in niederließ. Darüber hinaus ist sie an der Welsh espagnole), Ortrud (Lohengrin), Brangäne, gemacht, insbesondere in den Opern von Fidelio) bis Strauss (die Marschallin im National Opera, beim Pacific Northwest Fricka, die Hexe (Hänsel und Gretel), der Beethoven, Wagner und Strauss. Nach ihrem Rosenkavalier und Ariadne); besondere Erfolge Festival in Seattle (als Brünnhilde im Komponist (Ariadne auf Naxos), Baba the Turk Debüt beim Wexford Opera Festival trat sie verzeichnete sie in den Wagner-Rollen kompletten Ring-Zyklus) und bei bedeutenden (The Rake’s Progress), Katisha (The Mikado), bei der Eröffnung des Sydney Opera House in Brünnhilde, Isolde und Sieglinde. Bei den Festspielen in und außerhalb ihrer Heimat die Feenkönigin (Gilbert und Sullivans Prokofjews Krieg und Frieden auf und hat ihre Festspielen von Bayreuth ist sie von 1989 bis aufgetreten. Besonderen Erfolg hatte sie im Iolanthe) und Auntie (Peter Grimes). Sie ist engen Verbindungen zur Opera Australia 1992 unter der Leitung von Daniel Barenboim italienischen Repertoire als Norma, Abigaille auch an der Royal Opera Covent Garden (als aufrechterhalten. Ihre internationale Karriere aufgetreten und hat an den Festivals von (Nabucco), Lady Macbeth, Leonora und Aida, Amneris), der Welsh National Opera (als führte sie an Opernhäuser und zu Festivals in Ravello und Edinburgh sowie am war aber auch in tragenden Rollen in Herzogin in La Grande-Duchesse de Gérolstein ganz Europa und Nordamerika, mit einem Abschlussabend der BBC Promenade Concerts Idomeneo, Turandot, Lohengrin, Tristan und und in Sir Peter Maxwell Davies’ The Doctor of Repertoire, das Idomeneo, Norma, Nabucco, in London teilgenommen. In Großbritannien Isolde sowie Elektra zu sehen. Sie hat mit Myddfai), der Scottish Opera (als Brangäne, Attila, Macbeth, Don Carlos, Fidelio, den hat sie an der Royal Opera Covent Garden, namhaften Künstlern wie Birgit Nielsson (als Fricka, Cassandra in Les Troyens und die alte Fliegenden Holländer, Tannhäuser, Lohengrin, der English National Opera, der Welsh

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National Opera und Scottish Opera gesungen II. wurde Sarah Walker 1991 mit dem Orden Einspielung von Peter Grimes unter Richard des Orchesters für Chandos und die Peter und war in Londoner Konzerten und Recitals CBE (Commander of the Order of the British Hickox. Moores Foundation sind Maria Stuarda, in der Royal Festival Hall, der Royal Albert Empire) ausgezeichnet. Giulio Cesare, Il barbiere di Siviglia, Rigoletto Hall (unter Bernard Haitink) und der Das von der Kritik ebenso wie vom Publikum (in der Inszenierung von Jonathan Miller), La Wigmore Hall zu hören. Die Altistin Anne Collins trat der Sadler’s gefeierte Orchester der English National traviata und Werther. Wells Opera (der späteren English National Opera unter Konzertmeister Barry Griffiths Die Mezzosopranistin Sarah Walker kann auf Opera) bei, und ihr dortiges Repertoire hat in den letzten Jahren mehrere angesehene Der englische Dirigent Reginald Goodall eine herausragende Karriere als Recital- und umfasste L’incoronazione di Poppea, Le Comte Preise gewonnen, beispielsweise den wurde 1901 geboren und studierte Opernsängerin verweisen und ist bei Festivals, Ory, Un ballo in maschera, Madama Butterfly, Musikpreis der Royal Philharmonic Society und Orchesterleitung am Royal College of Music in Konzertsälen und an Opernhäusern in ganz Arabella sowie mehrere Rollen in Wagners einen Olivier Award für herausragende unter Malcolm Sargent und Constant Europa, Nordamerika, Australien und Ring-Zyklus, wovon ihre Erda besondere Leistungen im Bereich der Oper. Das Lambert. Von 1929 bis 1936 war er Organist Neuseeland mit vielen der namhaftesten Aufmerksamkeit erregte. Sie hat häufig an der Orchester ist von zentraler Bedeutung für das und Chorleiter der Kirche St. Alban the Dirigenten, Sänger und Begleitpianisten der Royal Opera Covent Garden, der Welsh künstlerische Leben der Truppe und war nicht Martyr im Londoner Stadtteil Holborn, wo er Welt aufgetreten. Ihr Opernrepertoire reicht National Opera, Opera North und Scottish nur bei Opernvorstellungen im Londoner die britische Erstaufführung von Chorwerken von Claudio Monteverdi (Il ritorno d’Ulisse in Opera sowie bei den Festivals von Coliseum, sondern auch auf dem von Bruckner, Strawinski und Szymanowski patria und L’incoronazione di Poppea) und Glyndebourne, Aldeburgh, Wexford und Konzertpodium zu sehen. Zusätzlich sind viele sowie frühe Werke von Britten besorgte. Francesco Cavalli (La Calisto) bis zu Sir Peter Camden ebenso wie bei den BBC Promenade der Musiker am Baylis-Programm der für Gegen Ende der 1930er-Jahre war er unter Maxwell Davies (Taverner) und Aulis Sallinen Concerts gesungen. Sie ist in Konzerten, bei Schul- und Gemeindearbeit zuständigen anderem als Assistent von Albert Coates und (The King Goes Forth to France). Sie pflegt enge Festspielen und als Gast von Operntruppen in Abteilung des Orchesters beteiligt und Malcolm Sargent tätig. Zu Beginn des Zweiten Kontakte zur Royal Opera Covent Garden ganz Europa aufgetreten, zum Beispiel an den arbeiten mit dem English National Opera Weltkriegs wurde er Dirigent des im und ist auch vielfach an der English National Opernhäusern von Lyon, Straßburg, Genf und Studio an der Entwicklung neuer Opern, südenglischen Bournemouth ansässigen Opera aufgetreten. Ihre zahlreichen Hamburg, in Paris an der Opéra und am speziell an Mark-Anthony Turnages The Silver Wessex Philharmonic Orchestra. Aufnahmen auf Tonträger spiegeln die große Châtelet théâtre musical, am Théâtre de la Tassie, das im Februar 2000 uraufgeführt Im Juni 1945 dirigierte er als Mitglied der Bandbreite ihres Repertoires wider; dazu Monnaie in Brüssel und am Mailänder Teatro wurde. Das Orchester hat an vielen Sadler’s Wells Opera (der späteren English zählen bei Chandos Musik von Manuel de alla Scala. In Amerika war sie an der Einspielungen mitgewirkt, zum Beispiel an National Opera) die Uraufführung von Peter Falla (El amor brujo) und Mozart (das Metropolitan Opera in New York zu hören. desen von Verdis Otello unter Mark Elder die Grimes im neu eröffneten Sadler’s Wells Requiem) sowie Giulio Cesare und Faust, beide Sie hat zahlreiche Aufnahmen auf Tonträger demnächst bei Chandos herauskommen wird. Theatre. Im Jahr darauf wechselte er sich in in Zusammenarbeit mit der Peter Moores vorgenommen, darunter für Chandos die mit Dies geschieht unter der Schirmherrschaft der der ersten Nachkriegsspielzeit des Foundation eingespielt. Von Königin Elisabeth einem Grammy-Preis ausgezeichnete Peter Moores Foundation. Andere Aufnahmen Glyndebourne Festival bei den ersten

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Aufführungen von Brittens The Rape of durchschlagend, dass er an das Haus 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 1970 über die folgenden fünfundzwanzig Jahre hin und 1973 Gestalt annahm und seinerzeit die ein Repertoire dirigierte, das von Il trovatore erste seit vielen Jahren war, die auf Englisch bis Troilus and Cressida reichte. gesungen wurde. Später leitete er Das Nur selten erhielt er Gelegenheit, Opern Rheingold und Die Walküre an der Royal seines Lieblingskomponisten Richard Wagner Opera, Tristan und Isolde und Die Walküre an zu leiten. Diese Unterlassungssünde wurde der Welsh National Opera sowie Tristan und 1968 wettgemacht, und zwar nicht von der Parsifal an der English National Opera. 1975 Royal Opera, sondern von Sadler’s Wells, wurde er mit dem Orden CBE ausgezeichnet wohin er eingeladen wurde, eine und 1985 zum Ritter geschlagen. Reginald Neuinszenierung der Meistersinger von Goodall verstarb 1990 im Alter von Nürnberg zu dirigieren. Der Erfolg war so achtundachtzig Jahren.

Siegmund, Hunding and Sieglinde, Act I, Scene 2

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Siegmund and Sieglinde, Act I, Scene 3 Fricka and Wotan, Act II, Scene 1

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avec des larmes sincères”. Ayant fui Dresde Cependant, Wagner ne suivit pas toujours à Richard Wagner: Die Walküre pour échapper à l’arrestation en raison de sa la lettre ses propres préceptes: en effet, on peut participation à la Révolution de 1848, il vivait trouver un quintette et de nombreux chœurs Une introduction à “Der Ring des Wotan a recours à la ruse et au vol, et se décrit en exil à Zürich avec peu d’espoir de jamais dans Die Meistersinger von Nürnberg, ainsi Nibelungen” lui-même comme l’alter ego du gnome, voir le Ring représenté sur scène; et son style qu’un chœur et un trio au deuxième acte de Wagner conçut l’idée d’un drame musical “Lumière-Alberich”, tandis qu’Alberich, qui était en train de changer de manière si radicale Götterdämmerung (Le Crépuscule des dieux). s’inspirant de l’histoire du mythe des après tout obtient l’or du Rhin en se pliant à qu’il lui fallait le faire passer, c’est le cas de le L’opéra qui ouvre le cycle du Ring, Nibelungen en 1848, à peu près à l’époque où la condition de renoncer à l’amour, est investi dire, par Tristan. Le fait que Wagner ait Das Rheingold (L’Or du Rhin), offre un bon il achevait le dernier de ses opéras aussi bien par la dignité que par la persévéré jusqu’à terminer le Ring puis, grâce à exemple de la mise en pratique des théories traditionnels, Lohengrin. Il est possible malfaisance. ses propres efforts, à le faire représenter dans wagnériennes, mais il restait beaucoup de d’apprécier Der Ring des Nibelungen (L’Anneau Wagner travailla pendant plusieurs années un théâtre spécialement construit à cet effet, travail avant que Wagner puisse commencer à du Nibelung) à plusieurs niveaux: comme un aux paroles et à la musique, commençant par tient véritablement du miracle. composer la musique. Au départ, il prévoyait conte de fées, une allégorie politique ou un un résumé en prose de l’histoire avant de se Ses sources incluent cinq poèmes épiques, de n’écrire qu’un seul opéra, qui pourrait tract philosophique, par exemple. En son lancer dans le texte de ce qu’il appela Siegfrieds en islandais, en allemand moyen et en vieux s’achever sur une note d’optimisme avec la essence, il traite du combat éternel entre le Tod (La Mort de Siegfried). Cependant, il norrois, qui datent tous du treizième siècle. supériorité morale et physique des dieux bien et le mal, et du contraste qui existe entre déclara à un ami en décembre 1856 que “les Comme pour tous ses opéras, avant et après le solidement établie. La remarque de l’un de ses l’amour du pouvoir et le pouvoir de l’amour. Nibelungen commencent à m’ennuyer”; en Ring, Wagner écrivit lui-même ses livrets. amis selon laquelle l’histoire exigerait du Wotan, le chef des dieux, veut un pouvoir effet, il abandonna le Ring l’été suivant, et ne Mais, à l’inquiétude de ses amis, commençant public une quantité irréaliste de connaissances dont les fins sont bénignes; Alberich, le chef revint à la composition de celui-ci qu’en 1869, par Siegfrieds Tod, il reprit une ancienne touchant le contexte l’incita d’abord à des Nibelugen, gnomes qui vivent sous la époque à laquelle il avait composé Tristan und technique poétique appelée “Stabreim” qui fait développer Siegfrieds Tod, puis à ajouter ce que terre, le veut pour servir ses propres fins Isolde et Die Meistersinger von Nürnberg (Les appel à des alitérations explosives plutôt qu’à la l’on pourrait qualifier de “prologue”, Der junge maléfiques. De l’Orfeo de Monteverdi à Maîtres chanteurs de Nuremberg). Depuis sa scansion et aux rimes. Ceci s’accordait avec ses Siegfried (Le Jeune Siegfried). Voyant la Die Zauberflöte de Mozart, d’Hippolyte et conception jusqu’à son achèvement, ce projet théories, exposées dans les essais qu’il écrivit en nécessité d’un plus grand retour en arrière, Aricie de Rameau au Freischütz de Weber, la gigantesque lui demanda vingt-six ans: années exil à Zürich, et qui traitaient entre autres de Wagner écrivit les textes de Die Walküre superposition entre la lumière et les ténèbres a 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 été un sujet de fascination pour les scène politique de l’Europe. musicaux, et de la nécessité pour les paroles Siegfried fut rebaptisé Siegfried, tandis que compositeurs d’opéras. Wagner reconnut que 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 tout n’est pas noir et blanc, mais très comme il le raconta, à abandonner son jeune les ensembles et les chœurs n’avaient plus leur des omissions et des changements significatifs, largement teinté d’ombres de gris. Ainsi, Siegfried sous le tilleul, où il “lui fit des adieux place. notamment la fin où maintenant les dieux

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périssent dans l’incendie de leur palais, le il mit en musique le texte qu’il avait écrit vers la fin du cycle – avec d’autres motifs, tous membres de la puissante section des huit cors), Walhalla. Reconnaissant l’influence de l’Orestie (quoique avec des révisions) vingt ans plus tôt. concourent à créer une tapisserie solidement qui entonnent le leitmotiv du “Walhalla” à la et du Prométhée d’Eschyle, Wagner décrivit le Bien entendu, son style musical se développa tissée. scène deux de Das Rheingold. Ring comme étant une trilogie (Das Rheingold pendant cette période, et la partition de Des livres ont assigné des noms aux divers En 1862, Wagner n’était plus bani des états servant de hors-d’œuvre). Götterdämmerung est beaucoup plus subtile et leitmotive, mais au fur et à mesure que la allemands. Il publia l’année suivante une En 1854, Wagner prit connaissance des complexe que celle de Das Rheingold. définition des plus abstraits se veut plus édition du texte du Ring avec une préface dans écrits du philosophe Arthur Schopenhauer – Pourtant, aussi disparates qu’ils soient, les précise, ceux-ci peuvent se révéler encore plus laquelle il exprimait l’espoir qu’un prince “un râleur d’un genre des plus prononcés” quatre opéras se tiennent ensemble grâce à insaissables. Rien de tout cela ne doit troubler allemand fournirait l’argent nécessaire selon l’expression de Bertie Wooster, un l’outil de liaison connu sous le nom de l’auditeur qui prend connaissance du Ring permettant au cycle – pas encore achevé – personnage de l’écrivain humoriste anglais leitmotiv (de l’allemand Leitmotiv, motif pour la première fois, car il parviendra à d’être représenté dans un théâtre spécialement P. G. Wodehouse. La version révisée de la fin conducteur). reconnaître les leitmotive après quelques construit. Sa prière fut rapidement entendue. de l’histoire du Ring avait été écrite Les réminiscences musicales dans l’opéra auditions. Toutefois, les correspondances ne Le prince héritier de Bavière âgé de dix-huit auparavant; mais Wagner rédigea par la suite n’avaient rien de nouveau. Un exemple bien sont pas toutes évidentes: il est utile de ans monta sur le trône en 1864 et devint le roi plusieurs fins différentes au cours de la connu est celui de la petite phrase de hautbois souligner, pour ne prendre qu’un exemple, la Louis II. Il aida Wagner à rembourser ses composition du cycle, notamment une qui qui nous dit, à l’Acte II de Fidelio de similarité des contours des leitmotive du dettes, l’installa dans une maison à Munich, reflète la vue pessimiste de Schopenhauer selon Beethoven, que Florestan endormi est “Walhalla” et de “Anneau” – respectivement lui offrit des cadeaux en numéraires et un laquelle la vie n’est que la négation de la mort. maintenant en train de rêver à l’épouse à noble et sinistre – qui confirme, ou plutôt salaire annuel, et l’encouragea à poursuivre son Ici, Brünnhilde parvient à un état propos de laquelle il vient juste de chanter. La anticipe notre impression que Wotan et grand œuvre. d’illumination bouddhiste en arrivant à la “fin réussite de Wagner fut de créer un réseau de Alberich représentent les deux faces d’une Leurs relations eurent des hauts et des bas, bénie de toute chose éternelle”. Ce n’est pas la leitmotive: phrases brèves et éloquentes même pièce. pour dire les choses avec modération, mais version que Wagner utilisa finalement, mais associées à des individus, des objets, des L’un des nombreux plaisirs du Ring, et non c’est grâce à Louis II de Bavière que Tristan c’est une indication de son état d’esprit au sentiments et bien d’autres choses encore, qui des moindres, est son orchestration. Si Wagner und Isolde et Das Meistersinger von Nürnberg moment où il composait la fin de Die Walküre réapparaissent dans la ligne vocale, et en a recours à des ensembles gigantesques, très furent créés au théâtre de la cour, qui vit et le début de Siegfried. particulier dans l’orchestre. Ils sont bien plus souvent c’est un seul instrument à vent – un également les reprises d’opéras plus anciens de Ayant écrit le texte en ordre inverse, Wagner que les “cartes de visite” ridiculisées par hautbois ou une clarinette basse par exemple – Wagner. Des productions de Das Rheingold et composa la musique à partir du début: ainsi, il Debussy (qui pourtant ne dédaigna pas qui exprime une situation ou répond à une de Die Walküre furent également données au commença Das Rheingold en 1853, un an d’utiliser ce moyen dans Pelléas et Mélisande): phrase vocale. L’une des couleurs les plus grand dam du compositeur. En effet, Wagner après la rédaction du livret, alors que dans le simple répétition, modification mélodique ou caractéristiques du Ring est créée par ce que était encore déterminé à ce que le cycle cas de Götterdämmerung, commencé en 1869, harmonique, et combinaison – en particulier l’on a appelé les “tubas Wagner” (joués par des complet du Ring soit représenté dans son

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propre théâtre et dans le cadre d’un festival. longtemps pour lui faire oublier le malaise créé pour Siegmund qui est blessé. Son exaltation nécessité inéluctable de la mort de Siegmund, En 1871, il se décida pour la ville provinciale par le fait que Siegmund et Sieglinde sont frère croissante pendant le récit qu’elle fait du vieil qui a pour conséquence de mettre un terme à de Bayreuth. La construction du nouveau et sœur, et qu’ils se préparent à commettre un homme qui a planté une épée dans l’arbre, son projet de rendre l’or aux Filles du Rhin théâtre fut financée par une souscription inceste au moment où le rideau tombe. avec les leitmotive du “Walhalla” et de “l’Epée” par le truchement d’un être libre. Dans publique, Louis II apportant son renfort à un La scène où Wotan fait de longs adieux à sa déferlant dans l’orchestre, est l’un des l’intervalle se situe la scène avec Fricka, suivie moment critique. Wagner acheva fille préférée (Brünnhilde, la Walkyrie du titre) moments suprêmes de l’opéra. par le monologue, en grande partie récitatif, Götterdämmerung en 1874 et Der Ring des à la fin de l’opéra est également une situation Quand Sieglinde apprend à l’Acte III qu’elle où en parlant à Brünnhilde il s’entretient Nibelungen reçut sa première représentation lourde d’émotion à laquelle chacun peut va donner naissance à Siegfried, “le plus noble vraiment avec lui-même. (Dans le présent intégrale en août 1876. Parvenu en 1889, des s’identifier: le public est ému par les héros du monde”, elle exprime sa joie par le enregistrement, il est presque possible de sentir productions avaient été données dans les sentiments du père encore davantage que par leitmotiv généralement surnommé le public accroché à chaque mot du récit opéras du monde entier; aujourd’hui encore, le la position difficile du dieu. Après tout le bruit “Rédemption”, et qui ne réapparaîtra plus captivant de Norman Bailey.) Wotan accueille Ring demeure l’ouvrage de référence par lequel et la fureur de la “Chevauchée des Walkyries”, avant la toute fin de Götterdämmerung. Elle la fin de son pouvoir et raconte comment est jugé tout théâtre aspirant à la grandeur. les débordements extatiques de Sieglinde et la disparaît, et on ne la revoit plus jamais (son Alberich est en train d’y travailler en séduisant rage de Wotan, le calme presque immobile de destin nous est raconté dans Siegfried). Une une femme avec de l’or afin d’engendrer un © 2000 Richard Lawrence la dernière scène offre une conclusion fois que les Walkyries assemblées se sont allié (impliquant de cette manière que Traduction: Francis Marchal profondément satisfaisante. enfuies terrifiées par la colère de leur père, la Siegfried et Hagen, le fils d’Alberich, qui se L’Acte I débute par une tempête à travers scène appartient à Wotan et Brünnhilde. Leur rencontrent au cours de Götterdämmerung, Die Walküre laquelle Siegmund fuit ses ennemis. Il se sauve échange dialectique rappelle la querelle entre sont presque exactement contemporains). Wagner composa la musique de Die Walküre également à la fin de l’acte; et si cela, combiné Wotan et Fricka à l’Acte II, avec cette Après une scène pour les amants en fuite, entre novembre 1854 et mars 1856. Si c’est à son apitoiement sur lui-même, le fait d’abord différence que Wotan est abattu par la logique Brünnhilde fait son apparition solennelle l’opéra le plus populaire du Ring et le plus percevoir comme l’un des personnages les impitoyable de Fricka, tandis qu’ici il existe un devant Siegmund comme messagère de la susceptible d’être représenté indépendamment, moins séduisants du Ring, Wagner nous force certain rapprochement. mort. Il lui pose six questions, et elle répond à il n’est pas difficile de comprendre pourquoi. Il à le prendre en sympathie en lui donnant une Aussi glorieux que soient les Actes I et III, chacune d’entre elles. Pour la réponse de marque la première apparition d’êtres humains musique à la fois tendre et puissante. Il a été c’est peut-être l’Acte II qui nous révèle Wagner Siegmund qui refuse de la suivre au Walhalla dans l’histoire, faisant contraste aux Filles du dit que Sieglinde est la seule personne au plus haut de son génie. Les cinq scènes sans Sieglinde, Wagner souligne le propos en Rhin, aux Nibelungen, aux géants et aux dieux vraiment sympathique du Ring (peut-être le contiennent la joie trop brève de Wotan quant élevant la hauteur de chaque phrase en un de Das Rheingold. Une interprétation exaltée géant Fasolt en peine d’amour la suit de près): il ordonne à Brünnhilde de protéger Siegmund effet de roue à rochet. La ténacité de du duo d’amour de l’Acte I peut émouvoir sa musique est toute tendresse, depuis le dans le combat qui l’oppose à Hunding, puis Siegmund conduit finalement Brünnhilde à profondément un auditoire et suffisamment moment où elle va chercher de l’eau à boire son désespoir total de devoir admettre la acquérir une compréhension de l’amour

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humain, dont les conséquences seront pour entendre Die Walküre avec Ludwig cela ne se produirait pas. Il y eu des reprises, respiration et de la grandeur de la musique, et capitales. Enfin, il y a la tendresse de Hofmann, un célèbre basse-baryton allemand sous sa direction, de Gloriana et Boris pourtant il n’y a aucune inertie ni aucun manque Siegmund au-dessus du sommeil de Sieglinde, d’avant-guerre, dans le rôle de Wotan, mais Godounov, de Fidelio et Turandot, de Peter de vie dans ses tempos et ses rythmes. L’ampleur le bref cauchemard de celle-ci, et le combat ayant quitté tard le bureau j’eus ensuite une Grimes, Wozzeck et Troilus and Cressida, mais qu’il donne à la partition permet à chaque détail fatal. En l’espace de quelques secondes crevaison en plein milieu de l’heure de pointe, rien qui ne fût conçu dès le départ par de se révéler avec une aisance posée, et seulement, Wotan et l’orchestre expriment le et arrivant enfin, je découvris que Ludwig Reginald Goodall. Ce n’est que sept ans plus cependant sa lecture ne manque jamais mépris pour Hunding, le chagrin causé par la Hofmann ne chanterait pas. Cinq heures plus tard qu’il me fut donné d’entendre une autre d’animation dramatique, tandis que sa manière mort de Siegmund et la colère provoquée par tard, je quittai le Davis Theatre dans un tel interprétation d’un opéra de Wagner qui me de préparer les points culminants est infaillible. la désobéissance de Brünnhilde: une fin état d’exaltation que je serais volontiers rentré fit comprendre, une fois de plus, quel grand Par-dessus tout, il possède la remarquable concise et puissante pour un acte au chez moi à pieds ayant entendu une chef wagnérien il était, et combien il était capacité de révéler l’un des immenses actes de déroulement infaillible. interprétation que je n’aurais imaginé possible négligé. Wagner comme une entité unique se déployant Die Walküre fut représenté pour la première que sous la direction de Knappertsbusch ou Cette occasion, en octobre 1960, fut une d’un seul tenant – et cela n’est pas une mince fois à Munich en juin 1870. Sa première Furtwängler. Le chef d’orchestre ce soir-là était reprise de Tannhäuser au Sadler’s Wells Theatre réussite dans une œuvre telle que Tannhäuser qui représentation dans le cadre du cycle complet Reginald Goodall. à laquelle je m’étais rendu avec une certaine est immature à bien des égards. Ses points du Ring eut lieu au Festival de Bayreuth au Bien sûr j’avais déjà entendu, et admiré, une nervosité, pensant que le petit orchestre du culminants parviennent à une puissance aussi mois d’août 1876. grande partie du travail de Reginald Goodall à Sadler’s Wells ainsi que l’acoustique plutôt extraordinaire par rapport aux maigres ressources Covent Garden au cours des années qui sèche du théâtre avaient peu de chance de dont il dispose parce qu’ils naissent du © 2000 Richard Lawrence suivirent immédiatement la guerre, période convenir à une œuvre de cette nature. En développement organique de la musique. Traduction: Francis Marchal pendant laquelle il dirigea régulièrement ce qui l’occurence, je fus confondu et j’entendis une Mr Goodall est un interprète de Wagner qui semble maintenant des œuvres aussi interprétation qui, malgré quelques lacunes fait autorité. On ne peut qu’espérer vivement Reginald Goodall – improbables que Carmen, Manon, La traviata, vocales, était, à sa manière, aussi passionnante que sa réapparition au Sadler’s Wells représente une évaluation personnelle de Brian Ward Aida et Il trovatore, mais rien ne m’avait que la merveilleuse Walküre quelques années une appréciation de ses rares talents plus Il se trouve parfois que l’on arrive à un concert préparé à une interprétation wagnérienne plus tôt. perspicace que celle montrée par Covent Garden ou à l’opéra dans un état d’esprit qui rende d’une compréhension et d’une noblesse aussi Jusqu’à cette époque, le Wagner de Reginald dont il est l’un des membres. presque impossible d’apprécier l’exécution, et profondes que celle que j’entendis ce soir-là. Goodall n’avait soulevé que peu d’intérêt Tout comme Peter Heyworth, j’espérais, il ne fait aucun doute que le soir du 5 mars A partir de ce moment, je réfléchis parmi les critiques musicaux, mais Peter moi aussi, entendre davantage Reginald 1954 paraissait être l’une de ces occasions. beaucoup à la possibilité d’un Ring sous la Heyworth écrivit à propos de Tannhäuser dans Goodall, mais rien du tout: il ne diriga Tout alla de travers de jour-là: je m’étais direction de Reginald Goodall, mais au fur et la revue Opera: absolument rien pendant la saison suivante à rendu en voiture à Croydon tout spécialement à mesure que le temps passa, il devint clair que Mr Goodall possède un merveilleux sens de la Covent Garden. Au cours de la saison

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1962/1963, il y eut seulement un Coq d’or, et retransmissions radiophoniques de Bayreuth, ceux qui rendirent ces représentations si trésor: le heaume magique (le Tarnhelm) qui après cela il n’y eut plus aucune représentation pour moi, ce fut une révélation; et aussi pour mémorables. peut changer à volonté la forme de celui qui le pendant cinq ans. Ce n’est pas avant 1968 que les critiques, car ils se mirent aussitôt à écrire Cependant, et bien qu’il serait le premier à porte, et l’anneau, que Wotan avait l’intention l’on put entendre à nouveau cet homme que Reginald Goodall était “le plus grand chef le nier, c’est Reginald Goodall qui est le de garder pour lui. Les géants ne furent extraordinaire. Cette fois-ci, cependant, ce fut wagnérien vivant aujourd’hui”; un fait que véritable héros, lui dont le génie fut la force cependant satisfaits qu’après avoir obtenu tout dans une série de représentations qui quelques-uns d’entre-nous avaient été motrice derrière le Ring du Sadler’s Wells, et à le trésor, y compris l’anneau. Wotan avait bouleversèrent profondément le public d’opéra conscients depuis quinze ans. Les événements qui tous les véritables amateurs de Wagner d’abord refusé de se séparer de l’anneau, mais et les critiques. On avait annoncé que puisque qui suivirent sont, évidemment, bien connus: devraient être éternellement reconnaissants. tenant compte de l’avertissement d’Erda, un les deux compagnies du Sadler’s Wells se les rumeurs d’un cycle du Ring, la nouvelle esprit de la terre, qui lui révéla la malédiction trouvaient simultanément à Londres, il y production au Coliseum de Die Walküre, et la © 1974 Brian C. Ward lancé par Alberich, il finit par le céder. aurait une nouvelle production de conception progressive pendant plusieurs Traduction: Francis Marchal, 2000 L’effet de la malédiction fut immédiat: Der Meistersinger von Nürnberg utilisant les années d’un cycle complet qui fut entendu Fafner a tué Fasolt et s’est emparé de tout le ressources des deux compagnies, et le pour la première fois en août 1973 dans une Evénements précédant “Die Walküre” trésor. Troublés par la tournure des 31 janvier 1968 fut donnée la première d’une salle six fois à guichés fermés! Dans Das Rheingold, Alberich, le gnome du événements, Wotan et les dieux sont grande série d’interprétations wagnériennes. Beaucoup des chanteurs de la production de Nibelung, a volé l’or qui était gardé par les cependant entrés en triomphe au Walhalla, Enfin, nous avions une production qui avait 1968 des Meistersinger von Nürnberg se Filles du Rhin, et en renonçant à l’amour, il accompagnés par les Filles du Rhin se été préparée et pas seulement reprise, et enfin produisirent également dans les opéras du est parvenu à forger un anneau le rendant lamentant sur la perte de leur or. nous pouvions voir exactement ce que Ring, mais Reginald Goodall avait engagé maître de l’univers. Muni de l’anneau, il est Reginald Goodall pouvait faire dans la manière plusieurs nouveaux venus (c’est-à-dire descendu dans le Nibelheim et a réduit les Argument de former le style d’une compagnie avec la nouveaux venus dans des grands rôles Nibelung à l’esclavage, les forçant à extraire collaboration d’artistes dévoués tels que wagnériens): outre les superbes contributions davantage d’or pour lui. Disque Compact Un Norman Bailey, Alberto Remedios, Gregory des artistes mentionnés plus haut dans les rôles Après avoir construit le Walhalla pour Dempsey, Derek Hammond Stroud, et par la de Wotan/Wanderer, Siegmund/Siegfried, Wotan, les géants Fasolt et Fafner lui ont Acte I suite Clifford Grant. Mime, Alberich et Hagen/Hunding, nous demandé pour salaire Freia, la déesse de la Dans une cabane J’eus la chance d’assister à plusieurs eûmes la magnifique Brünnhilde de Rita Jeunesse et de la Beauté, mais Wotan, poussé 1 Une tempête fait rage avant que le rideau Meistersinger au Sadler’s Wells et au Coliseum, Hunter, et les interprétations tout à fait par Loge, le dieu du Feu, leur a offert à la ne se lève. Quand elle s’apaise, un homme et bien que j’eusse entendu un certain nombre convaincantes de fidèles tels que Emile place l’or du Nibelung. Ils l’ont accepté. entre précipitamment sur scène, visiblement la de représentations sous la direction de Rankl, Belcourt, Ann Howard et Katherine Pring Wotan et Loge sont descendus dans le victime épuisée d’une chasse. 2 Il s’écroule Krauss et Beecham, ainsi que de nombreuses pour ne citer que quelques noms parmi tous Nibelheim et ont dépouillé Alberich de son sur le tapis devant le feu et déclare qu’il lui

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faut se reposer, peu importe la maison où il se est arrivé à la cabane de Hunding après un gagner l’épée. 13 Lors de son mariage, un Disque Compact Deux trouve. Dérangée par le bruit, une femme combat au cours duquel il est venu en aide à étranger vêtu de gris est entré et a enfoncé son entre de la pièce voisine; elle est surprise de une jeune femme qui était contrainte à se épée dans l’arbre. L’orchestre nous informe Acte II voir un étranger, mais est soulagée de constater marier contre son gré. Elle et tous ses gens ont qu’il s’agissait de Wotan. Aucun des invités ne Un sommet sauvage et rocheux qu’il est vivant et seulement inconscient. été tués; seul Wehwalt s’en est réchappé. parvint à l’arracher; elle comprit alors qu’elle 1 Le prélude orchestral du deuxième acte L’homme réclame à boire, et elle va chercher 10 Hunding se lève en colère; cet homme avait été mise là pour celui qui serait son dépeint leur fuite en un traitement de l’eau dans une corne à boire pour le est l’ennemi contre lequel ses parents l’avaient sauveur – si ce pouvait être Wehwalt! 14 Ils symphonique sauvage et passionné des motifs ranimer. 3 Il apprend que la femme et la appelé à l’aide, et qui a maintenant trouvé tombent dans les bras l’un de l’autre, et sont associés avec Nothung, la fuite, et l’amour que cabane appartiennent à son époux Hunding. refuge dans sa propre demeure. Les lois de soudain illuminés par un brillant clair de lune Siegmund et Sieglinde se portent l’un à l’autre. Elle va vers le garde-manger et en rapporte une l’hospitalité les lient pour la nuit, mais au qui semble être comme la bénédiction de leur La musique devient de plus en plus corne d’hydromel qu’elle lui donne à boire, matin, ils devront se battre à mort. Il envoie sa amour par la nature. 15 Le Printemps et sa tempétueuse et grandiose pour préparer le tandis que la musique nous dit qu’ils sont femme préparer sa boisson du soir – elle sœur l’Amour, dit Wehwalt, sont unis par les glissement de l’action qui se déroule tombés amoureux. 4 Mais l’homme tente de s’éloigne à contre-cœur, et lance des regards liens du mariage. 16 – 17 La femme salue maintenant parmi les immortels. Du haut du se sauver afin d’éviter le malheur que pourrait significatifs vers le tronc de l’arbre autour Wehwalt comme étant son Printemps, et tandis sommet rocheux, Wotan surveille la scène avec lui apporter son hôtesse – elle lui répond que duquel la cabane est construite. Après un final qu’ils continuent leurs échanges amoureux, sa fille préférée, la vierge Walkyrie Brünnhilde. le malheur est déjà dans cette maison. Il lui dit avertissement, Hunding la suit. 18 elle se rend compte qu’il est plus proche Il lui ordonne, comme instrument de que son nom est Wehwalt (Visage affligé). 11 La lumière a décliné. Wehwalt est seul, d’elle qu’aucune autre chose, hormis son propre sa propre volonté, de protéger Siegmund Hunding, annoncé par un appel menaçant sans arme; il se souvient seulement que Wolfe reflet, l’écho de sa propre voix. Quand il lui dit dans le combat imminent avec Hunding. des tubas de Bayreuth, est de retour à la lui a promis une épée quand il en aurait que son père n’était pas Wolfe mais Wälse, et 2 Brünnhilde profère joyeusement son cri de maison. 5 La femme lui explique qu’elle a besoin. “Wälse! Wälse!” s’exclame-t-il à son qu’il est lui-même un Wälsung, elle est guerre “Hoïotoho!” Elle avertit Wotan de se secouru un fugitif. 6 Hunding proclame la père, “Où est ton épée?” Et les dernières lueurs submergée par la joie. Elle sait qu’il est son préparer aussi; sa femme Fricka, gardienne des sainteté de sa terre, remarque la ressemblance des braises projettent une lumière sur l’arbre frère, et lui donne son véritable nom, lois familiales, approche sur son char tiré par entre sa femme et l’étranger, et lui demande de dans lequel est enfoncé une épée – dans Siegmund (Victorieux). 19 – 20 Il se lève d’un des béliers. lui raconter son histoire. 7 – 8 Wehwalt l’orchestre, une trompette joue le motif de bon, grimpe à l’arbre, arrache l’épée du tronc, 3 Fricka est venu pour demander que explique que sa mère a été tuée par des l’épée magique. et proclamant son nom, Nothung (Nécessaire), triomphent des lois sacrées du mariage et que brigands et que sa sœur jumelle a été enlevée 12 La femme de Hunding revient dans il la lui offre comme cadeau de noces. La les amants incestueux soient punis. 4 – 6 Si alors qu’il était encore enfant; son père, l’obscurité; elle a donné à son mari un femme révèle qu’elle est sa sœur Sieglinde. “Le elle bénissait l’amour de Siegmund et de surnommé Wolfe, l’a élevé, puis a disparu. breuvage dans lequel elle a versé un puissant sang de ces Wälsung est béni!” s’écrie-t-il, et il Sieglinde, comme le souhaite Wotan, la Lui-même a été rejeté par les hommes. 9 Il narcotique, et supplie maintenant l’étranger de l’embrasse tandis que le rideau tombe. supériorité morale des dieux irait à sa perte.

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Elle lui reproche ses infidélités passées, et Brünnhilde: elle foit se battre pour Fricka et prépare au combat tandis que l’on entend les avec elles les corps des héros morts au combat. 7 quand il lui explique la nécessité d’un être laisser de côté la volonté de Wotan. appels de cor de Hunding. 11 Sieglinde se 2 Brünnhilde est la dernière à arriver; elle libre, elle lui réplique que l’être libre qu’il a réveille d’un cauchemard, et se découvre seule, porte sur sa selle non pas le cadavre de choisi, Siegmund, n’est pas du tout libre, mais Disque Compact Trois au moment même 12 où Siegmund se Siegmund, mais Sieglinde qui est en vie. qu’il a été guidé depuis le début par Wotan. Il retrouve face à face avec Hunding au col de la 3 Brünnhilde supplie ses sœurs Walkyries de ne peut en conséquence accomplir sa mission. 1 Wotan s’éloigne précipitamment; montagne. Brünnhilde voletige au-dessus l’aider à cacher Sieglinde; Wotan est à leur 8 Misérablement, Wotan cède point par profondément attristée, Brünnhilde quitte la d’eux, et protège Siegmund, mais soudain poursuite et va bientôt les frapper toutes les point à ses terribles exigeances: Siegmund doit scène plus lentement. 2 On entend de Wotan apparaît. L’épée de Siegmund se brise deux de sa vengeance. Aucune des autres être tué par Hunding; ni Wotan ni Brünnhilde nouveau la musique de la fuite alors que contre la lance de Wotan, laissant libre Walkyries n’ose braver la colère de Wotan, et ne doivent lui venir en aide; l’épée doit perdre s’approchent rapidement Siegmund et Hunding de tuer son adversaire. Brünnhilde 4 Sieglinde n’aspire elle-même qu’à la mort son pouvoir magique. 9 Triomphante, Fricka Sieglinde. 3 – 4 Sieglinde refuse de se s’éloigne rapidement et emporte Sieglinde qui jusqu’au moment où Brünnhilde lui parle du commande à Brünnhilde, qui est revenue, de reposer ne serait-ce qu’un instant – elle s’est évanouie. Wotan se tient au-dessus de héros Wälsung qu’elle porte dans son sein: la recevoir les nouveaux ordres de Wotan. imagine déjà le bruit de Hunding à leur Hunding, et d’un geste de la main le foudroie seule manière pour Sieglinde d’être en sécurité 10 Wotan déverse son indignation et son poursuite. Mais la fatigue est plus forte que la et expédie son esprit à Fricka comme messager est de fuir seule dans une forêt profonde désespoir devant Brünnhilde. 11 – 13 Il lui peur, et elle s’effondre inconsciente dans les de sa victoire. Mais il promet un châtiment gardée par le dragon Fafner; 5 là, elle mettra retrace, comme si c’était pour lui-même, les bras de Siegmund. 5 – 6 Assis sur un rocher terrible pour la désobéissance de Brünnhilde. au monde son enfant en cachette, lui donnera origines de ce conflit crucial, rappelant les et la tenant ainsi dans ses bras, Brünnhilde les morceaux de l’épée de son père, et événements de Der Rheingold – un rappel apparaît devant lui comme un visage dans un Disque Compact Quatre l’appellera du nom de Siegfried. 6 Sieglinde nécessaire sur le plan structurel pour le plan rêve: elle l’avertit de sa mort imminente et du exprime sa gratitude et sa joie en un glorieux symphonique de Wagner, et non pas voyage qu’il va faire avec elle vers la demeure Acte III élan plein de lyrisme avant de s’enfuir. simplement un moyen de mettre le public au des héros dans le Walhalla. 7 – 8 Mais Au sommet d’une montagne rocheuse 7 Brünnhilde se cache parmi ses sœurs courant de la situation. 14 – 15 La narration Siegmund refuse de se séparer de Sieglinde, et 1 Le prélude orchestral dépeint la chevauchée Walkyries alors que Wotan arrive confirme la croyance de Wotan dans le fait que menace de la tuer ainsi que l’enfant qu’elle dans les airs des Walkyries (les filles guerrières précipitamment au sommet de la montagne, l’issue doit être la fin du monde, à moins porte en son sein. 9 Brünnhilde décide alors de Wotan engendrées par la déesse de la terre l’appelant d’une voix chargée de colère. qu’un héros n’intervienne de sa propre volonté de les sauver tous les deux, et défie Wotan Erda) tandis qu’elles se dirigent vers leur lieu 8 – 9 Méprisant les Walkyries qui implorent libre et ne l’empêche, cette fin 16 qu’Alberich (bien entendu, elle se prépare à exécuter la de réunion sur le sommet d’une montagne. sa pitié, il ordonne à Brünnhilde de se le Nibelung recherche, et pour laquelle il a volonté véritable de Wotan). Elle se sauve. Quand le rideau se lève, on les voit en train de montrer. 10 Elle a créé son propre châtiment, engendré par des moyens corrompus un fils, 10 Siegmund allonge doucement sur le sol s’assembler une à une avant de partir toutes car elle est une part de lui-même; il lui dit sa Hagen. 17 – 18 Wotan donne ses ordres à Sieglinde qui est toujours endormie, et se ensemble à cheval vers le Walhalla, emportant sentence: elle n’est plus une Walkyrie, 11 elle

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n’est plus une habitante du Walhalla, elle ne heaume et de sa lance. 22 Il tourne Grieux (Manon), Samson (Samson et Dalila), Remedios a été fait commandeur de l’ordre de pourra plus voir Wotan; ici, sur ce rocher, elle solennellement la pointe de sa propre lance Lenski, Erik (Der fliegende Holländer), l’empire britannique (CBE) en 1981. va devoir dormir sans défense, livrée au vers un rocher, et invoque Loge, le dieu du Lohengrin, Walther (Die Meistersinger von premier passant qui la prendra et en fera sa Feu, pour qu’il entoure de flammes la lance. Nürnberg), Tristan, Siegmund, Siegfried et Après avoir fait ses études musicales à Sydney, femme. 12 Wotan renvoie les Walkyries qui 23 Wotan jette un sort à la montagne: nul ne Bacchus (Ariadne auf Naxos). Il a fait ses Melbourne et Londres, la basse australienne protestent. pourra passer au travers du feu magique s’il débuts au Royal Opera de Covent Garden Clifford Grant a fait ses débuts avec la New 13 – 14 Brünnhilde demeure allongée et redoute la pointe de sa lance. Lentement le dans le rôle de Dimitri (Boris Godounov), et a South Wales Opera Company dans le rôle de prostrée. Après un long silence, elle commence dieu s’en va. Son pouvoir est aboli. Le destin chanté par la suite Florestan, Enée (Les Raimondo (Lucia di Lammermoor). Il est sa défense; elle a seulement agi selon la volonté du monde repose sur son petit-fils, le héros Troyens), Max, Erik, Siegfried, Bacchus et ensuite entré au Sadler’s Wells Opera (plus tard véritable de Wotan. 15 – 17 Elle a protégé Siegfried qui n’est pas encore né, et sur la Mark (The Midsummer Marriage de rebaptisé English National Opera) où il a Siegmund parce qu’elle l’aimait. Wotan a demi-déesse maintenant réduite à la simple Sir Michael Tippett). Il s’est également produit chanté Seneca (L’incoronazione di Poppea), le provoqué cet amour, et avec lui la volonté de condition de femme, et qui gît seule sur cette au Welsh National Opera et au Scottish Commandeur (Don Giovanni), Sarastro (Die désobéir à Fricka. Elle a rempli son devoir, elle montagne. Opera, et a passé deux ans à l’Opéra de Zauberflöte), Silva (Ernani), Padre Guardiano ne l’a pas trahi. Bien qu’ému, Wotan demeure Francfort. Il a fait ses débuts au Metropolitan (La forza del destino), Philippe II d’Espagne inflexible. 18 Elle lui rappelle les Wälsungen, William Mann, 1976 Opera de New York dans le rôle de Bacchus, et (Don Carlos), le Roi Henri (Lohengrin), Pogner ses propres enfants, et tente de le convaincre Traduction: Francis Marchal, 2000 a également chanté à San Francisco (dans les (Die Meistersinger von Nürnberg), Fafner, en lui révélant qu’elle a sauvé Sieglinde et rôles de Dimitri et de Don Carlos), à Los Hunding et Hagen (Der Ring des Nibelungen), l’enfant qu’elle porte, ainsi que l’épée que L’un des plus grands ténors héroïques Angeles, San Diego et Seattle (le rôle de ainsi que dans des rôles importants dans Il forgea Wotan; Wotan lui rappelle que c’est lui britanniques de sa génération, Alberto Siegfried), à Boston (le rôle de Faust de barbiere di Siviglia, Rigoletto, Madama Butterfly, qui l’a brisée. Le destin de Brünnhilde ne peut Remedios a fait ses études musicales à Gounod) et au Teatro colón de Buenos Aires Manon, Oedipus Rex et Peter Grimes. Il s’est donc être modifieé; 19 elle va devoir dormir Liverpool avec Edwin Francis, et au Royal (le rôle de Peter Grimes). Avec Joan également produit au Royal Opera de Covent d’un sommeil magique. 20 – 21 Il consent College of Music de Londres. Il a fait ses Sutherland, Alberto Remedios a effectué des Garden dans le rôle du Docteur Bartolo (Le cependant à une chose: elle sera entourée d’un débuts au Sadler’s Wells Opera (plus tard tournées en Australie interprétant les rôles nozze di Figaro); au Welsh National Opera dans feu magique qui tiendra au moins à l’écart les rebaptisé English National Opera) dans le rôle d’Edgar (Lucia di Lammermoor), Alfredo, Nabucco et Die Zauberflöte); au Glyndebourne poltrons. Wotan la relève du sol, et commence de Tinca (Il tabarro). Parmi les nombreux rôles Lenski et Faust; il est souvent revenu dans ce Festival Opera dans le rôle de Nettuno à lui faire ses adieux. qu’il a chantés avec cette compagnie, on citera pays, chantant les rôles de Florestan, (Il ritorno d’Ulisse in patria), et à l’Opéra de Par un baiser sur les yeux, il la dépouille de Don Ottavio, Tamino, Max (Der Freischütz), Siegmund, Radames et Otello avec l’Opera Marseille dans celui d’Hunding. Il a chanté sa divinité et la plonge dans le sommeil, puis Alfredo, Faust (dans Faust de Gounod et dans Australia, et se produisant également à Alidoro (La Cenerentola), Oroveso (Norma), la dépose sur la montagne à côté de son La Damnation de Faust de Berlioz), Des Melbourne, Adelaïde et Brisbane. Alberto Matteo (dans Fra Diavolo d’Auber), Sparafucile

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(Rigoletto), le Roi (Aida), Lodovico (Otello), de la compagnie il a par ailleurs incarné les Née à Douglas sur l’Ile de Man, la soprano Après avoir étudié à Liverpool avec Edwin Hagen, ainsi que des rôles dans I puritani, rôles de Pizzaro (Leonore de Beethoven), le lyrique Margaret Curphey a fait ses études Francis et plus tard avec Dame Eva Turner, la Il trovatore et Tannhäuser à l’Opéra de San Comte de Luna (Il trovatore), Alfio (Cavalleria musicales à la Birmingham School of Music. soprano dramatique Rita Hunter a effectué Francisco, Nilakantha (dans Lakmé de Delibes) rusticana), Scarpia (Tosca), le Père (Hänsel und Elle a ensuite effectué des tournées avec des tournées avec la Carl Rosa Opera et Pimen (Boris Godounov) à Sydney. Après Gretel), le Prince Gremine (Eugène Onéguine), “Opera for All” et a passé deux ans dans le Company. Elle est ensuite devenue soprano s’être produit dans Les Huguenots de Meyerbeer Kutuzov (Guerre et Paix de Prokofiev), et le chœur du Glyndebourne Festival avant de principale au Sadler’s Wells Opera (plus tard avec l’Opera Australia en 1990, Clifford Grant Forestier (Le Petit Renard rusé). Au Royal devenir membre du Sadler’s Wells Opera (plus rebaptisé English National Opera) où elle a se retira de l’opéra mais revint sur scène en Opera de Covent Garden, Norman Bailey s’est tard rebaptisé English National Opera), où elle chanté les rôles de Marcellina, Donna Anna, 1993 pour chanter Alvise Badoero dans La produit dans Balstrode (Peter Grimes, a fait ses débuts dans le rôle de Micaela Odabella (Attila), Leonora (Il trovatore), Gioconda à l’Opera North. Il a collaboré avec également en tournée à Palerme), Germont (Carmen), puis a continué avec La Musica Amelia (Un ballo in maschera), Elisabeth de des artistes aussi éminents que Dame Joan (La traviata), Ford (Falstaff), Wolfram (Orfeo de Monteverdi), la Comtesse (Le nozze Valois (Don Carlos), Santuzza, Musetta Sutherland, Otto Klemperer, Sir Adrian Boult (Tannhäuser), Kurwenal (Tristan und Isolde), di Figaro), Pamina, Ninetta (La gazza ladra), (La bohème), Senta et Fata Morgana (L’Amour et Sir Colin Davis. Donner (Das Rheingold), Wotan Mary Stuart (Maria Stuarda de Donizetti), des trois oranges de Prokofiev). Elle a attiré (Die Walküre), Klingsor et Amfortas (Parsifal), Violetta, Elisabeth de Valois (Don Carlos), l’attention internationale au début des années Né en Afrique du Sud, la basse-baryton Jochanaan (Salome), et le Maître de musique Santuzza (Cavalleria rusticana), Mimì et 1970 avec ses interprétations de Brünnhilde, Norman Bailey a fait ses études à Vienne, puis (Ariadne auf Naxos). Récemment, il a Musetta dans La bohème, Marguerite (La un rôle qu’elle a depuis chanté dans le monde a passé les premières années de sa carrière à également chanté Oroveso (Norma), Banquo Damnation de Faust de Berlioz), Ellen Orford entier. Elle fit rapidement ses débuts à Berlin, chanter en Autriche et en Allemagne. Il est (Macbeth), le Roi (Aida), le Docteur (Wozzeck) (Peter Grimes), ainsi que de nombreux autres au Royal Opera de Covent Garden, au ensuite revenu au Royaume-Uni où il s’est et Schigolch (Lulu). Sa carrière internationale rôles. Ses célèbres interprétations wagnériennes Metropolitan Opera de New York (où elle produit avec toutes les grandes compagnies l’a conduit à se produire sur les grandes scènes avec cette compagnie incluent Elsa revint pendant plusieurs saisons consécutives), d’opéra. Salué comme l’un des plus lyriques et dans les festivals de toute l’Europe (Lohengrin), Eva (Die Meistersinger von à Munich, San Francisco, New Orleans et en remarquables chanteurs wagnériens de sa et des Etats-Unis, incluant plusieurs saisons à Nürnberg), Sieglinde, Brünnhilde et Gutrune. Australie, un pays avec lequel elle a établi des génération, son nom est particulièrement Bayreuth. Il a collaboré avec des chefs aussi Margaret Curphey a pris part à la création liens privilégiés, et où elle s’est installée en associé au rôle titre de Der fliegende Holländer importants que Sir Colin Davis, Sir Georg anglaise de Lucio Silla de Mozart au Camden 1985. Rita Hunter a également chanté au et à celui de Hans Sachs dans Die Meistersinger Solti, James Levine, Carlo Maria Giulini, Theatre, et s’est produite dans plusieurs salles Welsh National Opera, au Pacific Northwest von Nürnberg. Il a également chanté le Wolfgang Sawallisch, Claudio Abbado et lyriques d’Europe. Elle a remporté une Festival de Seattle (Brünnhilde dans le cycle Landgrave (Tannhäuser) à l’Opera North, Daniel Barenboim. Pour Chandos, Norman médaille au concours international de Sofia en complet du Ring), et dans le cadre de grands Wotan/le Voyageur et Gunther à l’English Bailey a enregistré le rôle titre dans King Priam Bulgarie, et a mené une importante carrière de festivals en Grande-Bretagne et à l’étranger. National Opera, où en sa qualité de membre de Sir Michael Tippett. concertiste. Elle a également remporté de nombreux succès

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dans le répertoire italien avec Norma, Abigaille produite au Royal Opera de Covent Garden l’Opera Australia. Sa carrière internationale l’a Ravello, Edimbourg, et les BBC Promenade (Nabucco), Lady Macbeth, Leonora et Aida. dans le rôle d’Amneris, au Welsh National conduite à se produire sur les scènes lyriques et Concerts (soirée de clôture). En Grande- Elle a également interprété des rôles Opera dans celui de la Duchesse (La Grande- dans les festivals d’Europe et d’Amérique du Bretagne, Anne Evans a chanté au Royal importants dans Idomeneo, Turandot, Duchesse de Gérolstein) et dans The Doctor of Nord, dans un répertoire qui compte Opera de Covent Garden, à l’English National Lohengrin, Tristan und Isolde et Elektra. Elle Myddfai de Sir Peter Maxwell Davies; au Idomeneo, Norma, Nabucco, Attila, Macbeth, Opera, au Welsh National Opera et au s’est produite avec des artistes aussi éminents Scottish Opera elle a interprété Brangäne, Don Carlos, Fidelio, Der fliegende Holländer, Scottish Opera. Elle s’est également produite que Birgit Nilsson (qui incarna Sieglinde face Fricka, Cassandre (Les Troyens) et la Vieille Tannhäuser, Lohengrin, Tristan und Isolde, en concert à Londres au Royal Festival Hall et à sa Brünnhilde au Metropolitan Opera de Dame (Candide de Bernstein), et à l’Opera Der Ring des Nibelungen, Elektra (dans le rôle au Royal Albert Hall (sous la direction de New York), Carlo Maria Giulini, Lorin North dans l’Hotesse de l’auberge (Boris titre), Ariadne auf Naxos, Jenu˚fa (Kostelnicka) Bernard Haitink), ainsi qu’au Wigmore Hall. Maazel, Sir Yehudi Menuhin, Sir Simon Rattle Godounov). Partageant sa carrière et Peter Grimes. Elizabeth Connell a chanté et Richard Hickox. Rita Hunter a reçu de internationale entre l’Europe, l’Amérique du sous la direction de chefs tels que Claudio La mezzo-soprano Sarah Walker mène une nombreuses distinctions, notamment le titre Nord et l’Amérique du Sud, Ann Howard a Abbado, Giuseppe Sinopoli, Carlo Maria carrière exceptionnelle à l’opéra et en récital, se de commandeur de l’ordre de l’empire chanté sur les scènes lyriques à travers la Giulini, Wolfgang Sawallisch, Sir Charles produisant dans les festivals, les salles de britannique (CBE) en 1980. France, à l’Opéra d’Etat de Bavière, à l’Opéra Mackerras, Sir Edward Downes, Sir Colin concert et sur les scènes lyriques de toute d’Etat de Vienne, au Teatro San Carlo de Davis, Mark Elder, Lorin Maazel, James l’Europe, l’Amérique du Nord, l’Australie et la Née à Londres, la mezzo-soprano Ann Naples, à Gênes, Lisbonne, Edmonton, Levine et Seiji Osawa. Nouvelle-Zélande, avec la plupart des plus Howard remporta une bourse d’études (Royal Montréal, Los Angeles, New York (au grands chefs d’orchestre, chanteurs et Opera Scholarship) qui lui permit de venir Metropolitan Opera et au New York City La carrière internationale de la soprano Anne accompagnateurs. A l’opéra, son répertoire va étudier à Paris. A son retour de France, elle est Opera), Washington D.C., Baltimore, New Evans l’a conduite à se produire sur les grandes de Claudio Monteverdi (Il ritorno d’Ulisse in entrée au Sadler’s Wells Opera (plus tard Orleans, Santa Fe, Mexico et Santiago. scènes lyriques d’Europe, d’Amérique du Nord patria et L’incoronazione di Poppea) et rebaptisé English National Opera) où elle a et du Sud, dans un répertoire essentiellement Francesco Cavalli (La Calisto) jusqu’à Sir Peter chanté Azucena, la Princesse Eboli, Musetta Elizabeth Connell a imposé sa réputation dans allemand, depuis Beethoven (Leonore dans Maxwell Davies (Taverner) et Aulis Sallinen (La bohème), Carmen, Dalila, Conception le répertoire de soprano dramatique, en Fidelio) jusqu’à Strauss (la Maréchale dans (The King Goes Forth to France). Elle entretient (L’Heure espagnole), Ortrud (Lohengrin), particulier avec les opéras de Beethoven, Der Rosenkavalier et Ariadne), avec des succès des liens étroits avec le Royal Opera de Covent Brangäne, Fricka, la Sorcière (Hänsel und Wagner et Strauss. Après ses débuts au particulièrement notables dans les rôles Garden et a souvent chanté à l’English Gretel), le Compositeur (Ariadne auf Naxos), Wexford Opera Festival, elle s’est produite wagnériens de Brünnhilde, Isolde et Sieglinde. National Opera. Ses nombreux disques Baba la Turque (The Rake’s Progress), Katisha dans Guerre et Paix de Prokofiev donné lors de Elle a chanté au Festival de Bayreuth sous la reflètent son vaste répertoire, et pour Chandos, (The Mikado), la Reine des fées (Iolanthe) et l’ouverture de l’Opéra de Sydney, et a direction de Daniel Barenboim de 1989 à elle a notamment enregistré des œuvres de Auntie (Peter Grimes). Elle s’est également poursuivi une collaboration étroite avec 1992, et s’est produite dans les festivals de Manuel de Falla (El amor brujo) et de Mozart

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(Requiem), ainsi que Giulio Cesare et Faust, notamment Peter Grimes pour Chandos sous la collaboration avec la Peter Moores Foundation, première saison d’après-guerre du Festival de ces deux opéras en association avec la Peter direction de Richard Hickox, qui a reçu un notons Maria Stuarda, Giulio Cesare, Il barbiere Glyndebourne. Peu après, il devint membre du Moores Foundation. Sarah Walker a reçu le Grammy Award. di Siviglia, Rigoletto (dans la mise en scène de Royal Opera de Covent Garden où pendant titre de commandeur de l’ordre de l’empire Jonathan Miller), La traviata et Werther. vingt-cinq ans il allait diriger un répertoire britannique (CBE) en 1991. Salué autant par la critique que par le public, allant de Verdi (Il trovatore) à Walton (Troilus L’Orchestre de l’English National Opera, avec Le chef d’orchestre anglais Reginald Goodall and Cressida). La contralto Anne Collins entra au Sadler’s Barry Griffiths comme premier violon, s’est vu naquit en 1901 et étudia la direction Reginald Goodall n’eut que rarement la Wells Opera (plus tard rebaptisé English décerner ces dernières années plusieurs prix d’orchestre avec Malcolm Sargent et Constant possibilité de diriger les opéras du compositeur National Opera) où elle chanta un répertoire prestigieux comme le Prix de la Royal Lambert au Royal College of Music de qu’il admirait le plus, Richard Wagner. comprenant L’incoronazione di Poppea, Le Philharmonic Society et un Olivier Award pour Londres. De 1929 à 1936, il fut organiste et Cette omission fut rectifiée en 1968, non Comte Ory, Un ballo in maschera, Madama sa contribution exceptionnelle au monde chef de chœur à St Alban the Martyr, Holborn pas par le Royal Opera de Covent Garden Butterfly, Arabella et plusieurs autres rôles, lyrique. L’Orchestre est au cœur de la vie (Londres), où il dirigea les premières anglaises mais par le Sadler’s Wells Opera qui l’invita à notamment sa célèbre interprétation d’Erda artistique de la Compagnie et outre les d’œuvres chorales de Bruckner, Stravinski et diriger une nouvelle production de Die dans le cyle du Ring de Wagner. Elle s’est représentations lyriques au Coliseum à Londres, Szymanowski, ainsi que des œuvres de Meistersinger von Nürnberg. Ce fut un tel souvent produite au Royal Opera de Covent il se produit également en concert. De plus, de jeunesse de Britten. Pendant la fin des années succès qu’il fut réinvité à diriger une Garden, au Welsh National Opera, à l’Opera nombreux membres de l’Orchestre participent trente, il fut l’assistant d’Albert Coates et de production maintenant légendaire du cycle North et au Scottish Opera, et a chanté dans au Projet Baylis mis sur pied par la branche de Malcolm Sargent. Au début de la Seconde complet de Der Ring des Nibelungen, montée le cadre des festivals de Glyndebourne, la Compagnie chargée de l’éducation ainsi Guerre mondiale, il devint le chef du entre 1970 et 1973, et la première à être Aldeburgh, Wexford, Camden et des BBC qu’au développement de nouveaux opéra avec Wessex Philharmonic Orchestra basé à donnée en langue anglaise depuis plusieurs Promenade Concerts de Londres. Elle s’est l’English National Opera Studio, comme The Bournemouth. années. Il dirigea par la suite Das Rheingold et produite en concert, dans les festivals et sur les Silver Tassie de Mark-Anthony Turnage dont la En sa qualité de membre du Sadler’s Wells Die Walküre au Royal Opera de Covent scènes lyriques dans toute l’Europe, création mondiale eut lieu en février 2000. Opera (plus tard rebaptisé English National Garden, Tristan und Isolde et Die Walküre au notamment aux opéras de Lyon, Strasbourg, L’Orchestre a participé à de nombreux Opera) Reginald Goodall dirigea en juin 1945 Welsh National Opera, Tristan und Isolde et Genève, Hambourg, à l’Opéra de Paris et au enregistrements, comme son enregistrement la première représentation de Peter Grimes au Parsifal à l’English National Opera. Reginald Châtelet théâtre musical, au Théâtre royal de d’Otello de Verdi sous la baguette de Mark Sadler’s Wells Theatre récemment réouvert. Goodall devint commandeur de l’ordre de la Monnaie de Bruxelles et au Teatro alla Scala Elder qui doit prochainement paraître chez L’année suivante, il partagea avec Ernest l’empire britannique (CBE) en 1975, et fut de Milan. Aux Etats-Unis, elle s’est produite Chandos grâce au financement de la Peter Ansermet les premières représentations de anobli en 1985. Il mourut en 1990 à l’âge de au Metropolitan Opera de New York. Elle a Moores Foundation. Parmi ses autres The Rape of Lucretia de Britten pendant la quatre-vingt-huit ans. réalisé de nombreux enregistrements, enregistrements pour Chandos, en

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Brünnhilde and Wotan (Raimund Herincx), Act II, Scene 2 Brünnhilde, Act II, Scene 2

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abbandonato Dresda per evitare l’arresto per la Negli sviluppi successivi, Wagner non si Richard Wagner: Die Walküre sua complicità nella rivoluzione del 1848, attenne sempre alle proprie regole: in Die viveva in esilio a Zurigo con scarse prospettive Meistersinger si trova un quintetto completo, Un’introduzione a “Der Ring des descrive come un amico inseparabile del nano, di poter vedere il suo Ring rappresentato; ed il insieme a cori a profusione, ed un coro ed un Nibelungen” “Luce-Alberico” mentre Alberico, il quale suo stile di composizione stava cambiando in trio nel secondo atto della Götterdämmerung Wagner concepì l’idea di un dramma musicale dopo tutto acquista l’oro del Reno osservando modo così radicale che si può dire gli fu (Crepuscolo degli dei). L’opera che dà inizio al sul soggetto del mito del Nibelungo nel 1848, la condizione di rinunciare all’amore, assume necessario affinarlo lavorando su Tristan. Si ciclo del Ring, Das Rheingold (L’oro del Reno), all’incirca all’epoca in cui aveva completato un’aria di dignità insieme a quella di può dire che fu quasi miracoloso il fatto che presenta un buon esempio delle teorie di l’ultima delle sue opere tradizionali, Lohengrin. malvagità. continuò poi con il completamento del Ring, Wagner messe in pratica, ma fu necessario Si può essere interessati a Der Ring des Wagner lavorò sulle parole e sulla musica fino alla sua rappresentazione, grazie ai suoi successivamente tanto lavoro prima che Nibelungen (L’anello del Nibelungo) a diversi per parecchi anni, cominciando con un sforzi, in un teatro costruito unicamente a tale Wagner potesse cominciare con la musica. Da livelli: ad esempio come un racconto di fate, abbozzo in prosa della storia prima di iniziare scopo. principio egli aveva in preparazione una sola come un’allegoria politica o come un libretto il testo di quello che chiamò Siegfrieds Tod Le sue sorgenti inclusero cinque epopee, in opera, che sarebbe terminata con una nota di filosofico. In sostanza tratta con l’eterna (La morte di Sigfrido). Durante il dicembre islandese, in tedesco medio alto e norvegese ottimismo e la superiorità morale e fisica degli battaglia tra il bene e il male ed il contrasto tra 1856, tuttavia, fece sapere ad un amico che “i antico, che risalgono tutte al tredicesimo dei ben stabilita. L’osservazione da parte di l’amore del potere ed il potere dell’amore. Nibelunghi cominciano ad annoiarmi”; ed in secolo. Analogamente a tutte le sue opere, uno dei suoi amici che la storia richiedeva una Wotan, il capo degli dei, desidera il potere per realtà l’estate successiva abbandonò il Ring e prima e dopo il Ring, Wagner scrisse il proprio conoscenza inusitata degli antefatti da parte scopi che infine sono ben intenzionati; ricominciò a comporre soltanto nel 1869, libretto. Ma allarmando i suoi amici, a degli spettatori lo convinse per prima cosa ad Alberico, il capo dei Nibelunghi, nani che dopo aver scritto Tristan und Isolde e Die cominciare con Siegfrieds Tod riportò in vita ampliare Siegfrieds Tod e poi ad aggiungere vivono sotto terra, lo desidera per i suoi fini Meistersinger von Nürnberg (I maestri cantori un vecchio espediente poetico chiamato quello che oggi possiamo chiamare un malvagi. Dall’Orfeo di Monteverdi a Die di Norimberga). Dal momento della “Stabreim” che utilizzava allitterazioni “antefatto”, Der junge Siegfried (Il giovane Zauberflöte di Mozart, dall’Hippolyte et Aricie concezione al completamento questo progetto esplosive invece di scansione e rima. Questo Sigfrido). Riconoscendo la necessità di di Rameau al Der Freischütz di Weber, la gigantesco lo occupò per ventisei anni, che faceva parte delle sue teorie, esposte in saggi ampliare più indietro nel tempo, scrisse i testi giustapposizione di luce e d’ombra ha sempre furono anni di scompiglio sia nella sua vita scritti durante il suo esilio a Zurigo, che si della Walküre (La Valchiria) e Das Rheingold. affascinato i compositori di opere. Wagner personale che sulla scena politica europea. occupavano tra l’altro della connessione Der junge Siegfried fu infine intitolato Siegfrid riconobbe che ogni situazione non è mai Non era stata solo la noia, come disse, che reciproca tra suoni verbali e musicali e la e Siegfrieds Tod diventò Götterdämmerung, definita nettamente in bianco e nero, ma ha lo aveva indotto ad abbandonare il giovane necessità di poter udire parole cantate, la cui dopo aver apportato notevoli tagli e per lo più tonalità grigie. Pertanto Wotan Sigfrido sotto il tiglio, dove “gli aveva fatto gli conseguenza logica era che complessi e cori modifiche, tra queste ultime alla fine quando ricorre ad un sotterfugio ed al furto e si addii con lacrime sincere”. Dopo aver non erano più adatti. gli dei periscono nel loro castello, il Valhalla.

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Dando atto all’influenza delle tragedie di Götterdämmerung, cominciato nel 1869, stava modifiche melodiche o armoniche, e da che intonano davvero il motivo del “Valhalla” Oresteia e di Prometeo di Eschilo, Wagner adattando parole scritte (anche se corrette combinazioni con altri motivi particolarmente nella seconda scena di Das Rheingold. descrisse il Ring come una trilogia successivamente) venti anni prima. verso la fine del ciclo, le quali tutte servono a A partire dal 1862 Wagner non era più al (considerando Das Rheingold come un Naturalmente il suo stile musicale si stava creare un arazzo strettamente intessuto. bando dagli stati tedeschi. Durante l’anno preambolo). sviluppando durante tale periodo, e la Sono stati scritti volumi interi per dare un seguente pubblicò un’edizione del testo del Nel 1854 Wagner venne a conoscenza degli partitura dell’ultima opera è assai più nome ai vari motivi, ma più si cerca di definire Ring con una prefazione in cui espresse la scritti del filosofo Arturo Schopenhauer – “un ingegnosa e complessa di quella che la precede. in modo preciso quelli più astratti, più difficile speranza che un principe tedesco fosse brontolone della massima misura”, come Eppure le quattro opere, nonostante la loro da afferrare si rende una definizione. Chi disposto a procurare il denaro necessario per l’aveva descritto Bertie Wooster di P. G. diversità, rappresentano un tutto coerente a ascolta per la prima volta non se ne deve rappresentare il ciclo (tuttora incompleto) in Wodehouse. Il finale riveduto della storia del motivo di un espediente di connessione che preoccupare, in quanto comincerà a un teatro costruito appositamente. La sua Ring era già stato scritto, ma Wagner continuò passa sotto il nome di leitmotiv (dal tedesco riconoscere i vari motivi tematici dopo alcuni richiesta ricevette presto una risposta a scrivere successivamente parecchi finali Leitmotiv, tema melodico ricorrente). ascolti. Non tutte le connessioni sono tuttavia favorevole. Il diciottenne principe ereditario diversi, mentre era allo stesso tempo occupato Reminiscenze musicali in opere non ovvie: vale la pena notare, solo per dare un della Baviera ereditò il trono nel 1864 nella composizione del ciclo, incluso uno che rappresentavano certo una novità. Un esempio esempio, i profili simili dei motivi del diventando Re Ludwig II. Egli aiutò Wagner a rispecchiava la visione pessimistica di ben noto è costituito dalla piccola frase “Valhalla” e dell’“Anello” (rispettivamente ripagare i propri debiti, lo sistemò in una casa Schopenhauer che la vita rappresenta sull’oboe che ci dice, nel secondo atto del nobili e funesti), che confermano o, meglio a Monaco di Baviera, gli diede denaro in semplicemente la negazione della morte. Qui, Fidelio di Beethoven, che Florestano ancora, anticipano la nostra impressione che contanti ed uno stipendio annuale, e lo Brunilde raggiunge uno stato di illuminazione addormentato sta sognando di sua moglie della Wotan ed Alberico rappresentano il dritto e il incoraggiò a continuare con il suo grande buddista riuscendo ad arrivare alla “fine quale stava poco prima cantando. Wagner rovescio della stessa medaglia. lavoro. benedetta di ogni cosa eterna”. Questa non fu riuscì a creare una rete di leitmotiv, L’orchestrazione è una delle delizie di A dir poco, i loro rapporti passarono tra alti la versione che Wagner traspose in musica, ma rappresentati da frasi brevi e ricche di particolare rilievo del Ring. Wagner impiega e bassi, ma fu grazie a Ludwig che Tristan e rimane indicativa del suo stato d’animo al significato, associate a persone, oggetti, forze enormi, ma assai di frequente un solo Die Meistersinger ebbero le loro prime momento in qui stava componendo la fine sentimenti e tanto altro, che ricorrono nella strumento a fiato di legno (un oboe, per rappresentazioni al teatro di corte, dove furono della Walküre e l’inizio di Siegfrid. musica vocale e specialmente nell’orchestra. esempio, o un clarinetto in fa) è quello che anche riesumate opere precedenti di Wagner. Dopo aver scritto i testi in ordine inverso, Essi sono assai più che i semplici “biglietti da esprime una situazione o dà punto ad una Furono anche messe in scena produzioni di Wagner iniziò a comporre la musica dal visita” derisi da Debussy (il quale peraltro non frase vocale. Una delle tonalità più Das Rheingold e della Walküre, malgrado la principio: cominciò pertanto Das Rheingold era alieno ad impiegare tale espediente lui caratteristiche del Ring è offerta da quelle che resistenza del compositore. Wagner era tuttora nel 1853, un anno dopo aver completato il stesso in Pelléas et Mélisande). Sono sono chiamate le tube di Wagner (suonate da deciso all’esecuzione del Ring al completo nel libretto, mentre nel caso della rappresentate da ripetizioni pure e semplici, da membri della sezione composta da otto corni) proprio teatro, in condizioni di festival. Nel

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1871 scelse la cittadina provinciale di appassionare il pubblico talmente a lungo e personaggio veramente solidale all’interno del Le cinque scene descrivono la gioia troppo Bayreuth. La costruzione del nuovo teatro fu con una tale profondità da fargli dimenticare Ring (forse le si avvicina il gigante Fasolt che si fugace di Wotan mentre ordina a Brünnhilde di finanziata mediante una sottoscrizione la scomoda realtà, e cioà che Siegmund e strugge d’amore): la sua à una musica che proteggere Siegmund nella battaglia con pubblica, con un intervento da parte di Sieglinde sono fratello e sorella e vuole denotare tenerezza assoluta, dal Hunding, e la sua profonda disperazione nel Ludwig ad un momento critico. Wagner commetteranno un incesto appena il sipario momento in cui porta dell’acqua al ferito dover invece prendere atto dell’incontestabile completò Götterdämmerung nel 1874 e sarà calato. Siegmund. La sua crescente eccitazione, necessità della morte di Siegmund e quindi Der Ring des Nibelungen fu rappresentato per Anche la conclusione dell’opera, che vede mentre racconta dell’uomo anziano che della fine del suo piano per restituire l’oro alle la prima volta nella sua interezza nell’agosto Wotan (Odino) allontanarsi per un lungo conficca una spada nell’albero, con i motivi Vergini del Reno tramite un agente libero. Nel 1876. Entro il 1889 erano state rappresentate periodo dalla sorella preferita (Brünnhilde “Valhalla” e “Spada” che si levano frattempo si inserisce la scena di Fricka, seguita produzioni in tutto il mondo operistico; esse [Brunilde], la Valchiria del titolo), rappresenta dall’orchestra, à uno dei momenti supremi dal monologo, in gran parte recitato, dove, rappresentano tuttora il modello a cui si una situazione emotiva in cui chiunque può dell’opera. mentre parla a Brünnhilde, egli sta in realtà riferiscono tutti i teatri dell’opera che aspirano identificarsi: il pubblico si commuove, dinanzi Nell’Atto III Sieglinde, venendo a sapere comunicando con se stesso. (In questa parte all’eccellenza. ai sentimenti del padre, più di quanto non lo che darà alla luce Siegfried (Sigfrido), “l’eroe sembra quasi di sentire il pubblico aggrapparsi sia per i comandamenti divini. Dopo tutta la più nobile del mondo”, esprime la propria ad ogni parola dell’avvincente narrazione di © 2000 Richard Lawrence furia della “Cavalcata delle Valchirie”, le gioia nel tema dominante definito Norman Bailey.) Wotan accetta la fine del Traduzione: ASA Products effusioni di estasi di Sieglinde e la rabbia di generalmente ‘Redenzione’, che non ricorre proprio potere e racconta di come Alberich Wotan, la quasi immobilità tranquilla della fino alla fine della Götterdämmerung. Barcolla (Alberico) si stia impegnando per causare questa Die Walküre scena finale fa da sfondo ad una conclusione e cade per non riapparire mai più (il suo situazione seducendo una donna per oro al fine Wagner compose la musica della Walküre tra il appagante. destino viene reso noto in Siegfried). Dopo che di procurarsi un alleato (insinuando quindi che novembre del 1854 ed il marzo del 1856. Non L’Atto I ha inizio con una tempesta, nella le Valchirie si sono riunite e sono fuggite Siegfried e il figlio di Alberich Hagen, che si à difficile comprendere il motivo per cui quale Siegmund fugge dai suoi nemici. Egli temendo la collera del padre, la scena incontrano nella Götterdämmerung, sono quasi questa sia l’opera più famosa del Ring e sia fugge anche alla fine dell’atto; e se questo appartiene a Wotan e Brünnhilde. I loro perfetti coetanei). anche quella che, con maggiore probabilità, elemento, combinato alla sua scambi dialettici ricordano la discussione tra Dopo una scena dedicata agli amanti in viene eseguita in isolamento. Segna la prima autocommiserazione, lo fa apparire all’inizio Wotan e Fricka nell’Atto II, con l’unica fuga, Brünnhilde fa la sua solenne apparizione apparizione nella storia degli esseri umani, in come uno dei personaggi meno affascinanti del differenza che in quel caso Wotan à logorato dinanzi a Siegmund come messaggera di contrapposizione alle Vergini del Reno, ai Ring, Wagner ci spinge a mostrare solidarietà dalla logica senza pietà di Fricka, mentre qui vi morte. Egli le pone sei domande, e lei Nibelunghi, ai giganti e agli dei di Das nei suoi confronti, accompagnandolo con una à un riavvicinamento delle sorti. risponde ad ognuna di esse. Per enfatizzare la Rheingold. L’esecuzione appassionata del musica che esprime tenerezza e forza al tempo Per quanto siano gloriosi gli altri atti, à forse risposta di Siegmund, che si rifiuta di seguirla duetto d’amore dell’Atto I riesce ad stesso. Si dice che Sieglinde sia l’unico l’Atto II che fa trasparire il meglio di Wagner. nel Valhalla senza Sieglinde, Wagner aumenta

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la tonalità di ogni frase, ottenendo una sorta di 1954 rientrava a tutti gli effetti in questo Da allora avevo pensato spesso alla Peter Heyworth scrisse di Tannhäuser su effetto irreversibile. La risolutezza di Siegmund genere di situazioni. possibilità di un Ring diretto da Goodall, ma Opera: porterà alla fine all’acquisizione, da parte di Non c’era nulla che fosse andato per il verso con il passare del tempo questa probabilità Goodall ha uno splendido senso del respiro e della Brünnhilde, della consapevolezza di cosa sia giusto: mi ero recato in macchina a Croydon diveniva sempre più remota. Egli diresse le grandezza della musica, non vi è tuttavia alcuna l’amore umano, con conseguenze memorabili. al solo scopo di assistere a Die Walküre Ludwig rivisitazioni di Gloriana e Boris Godunov, di passività o assenza di vivacità nei suoi tempi e Per finire vi à la tenerezza di Siegmund nei Hofmann, un famoso basso tedesco del Fidelio e Turandot, di Peter Grimes, Wozzeck e ritmi. La partitura acquista grazie a lui una tale confronti di Sieglinde addormentata, il suo periodo prebellico, nel ruolo di Wotan, ma ero Troilus and Cressida; ma nulla che Goodall ampiezza da consentire ad ogni singolo dettaglio breve incubo e la battaglia fatale. Nell’arco di uscito tardi dall’ufficio, avevo poi forato avesse realizzato si suo pugno. Sarebbero di emergere con estrema facilità, senza trascurare pochi secondi, Wotan e l’orchestra esprimono proprio nel bel mezzo del traffico dell’ora di dovuti passare altri sette anni prima che mi tuttavia l’aspetto drammatico dell’eccitazione, con disprezzo per Hunding, dolore per la morte di punta per poi scoprire alla fine che Hofmann rendessi conto, ancora una volta, in occasione un’infallibile sincronizzazione dei momenti Siegmund e rabbia per la disobbedienza di non sarebbe apparso sulla scena. Cinque ore di una rappresentazione wagneriana, della culminanti. Ma la sua maggiore abilità consiste Brünnhilde: la fine potente e concisa di un dopo sarei uscito dal Davis Theatre in un tale grandezza di questo direttore wagneriano, e di nel rivelare uno degli immensi atti di Wagner atto impeccabilmente ritmato. stato di eccitazione da poter tranquillamente quanto egli fosse stato dimenticato. come un’entità singola che si schiude, un’impresa Die Walküre fu eseguita per la prima volta a andarmene a casa a piedi: avevo infatti assistito Questa volta, nell’ottobre del 1960, si decisamente non da poco, se si considerano i Monaco nel giugno 1870. La sua prima ad un’esecuzione che non avrei mai ritenuto trattava di una rivisitazione del Tannhäuser al molteplici elementi che denotano l’immaturità di rappresentazione come parte del ciclo possibile, se non diretta da Knappertsbusch o Sadler’s Wells, alla quale avevo assistito con un lavoro quale il Tannhäuser. I suoi momenti completo del Ring ebbe luogo in occasione del Furtwängler. Quella sera il direttore fu una certa trepidazione, dovuta alla culminanti acquistano un tale e straordinario Festival di Bayreuth nell’agosto del 1876. Reginald Goodall. consapevolezza che la piccola orchestra del potere, se correlati alle scarse risorse di cui egli Avevo naturalmente sentito ed ammirato Sadler’s Wells e l’acustica alquanto asciutta del dispone, proprio perchè derivano dall’evoluzione © 2000 Richard Lawrence diversi lavori di Goodall al Covent Garden teatro non erano esattamente ciò che meglio si organica della musica. Traduzione: ASA Products negli anni del primo dopoguerra, quando addiceva ad una rappresentazione di questo Goodall è un autorevole interprete aveva diretto con una certa regolarità opere genere. Quella sera rimasi sconcertato udendo wagneriano. Vogliamo sperare profondamente Reginald Goodall – che sembrano oggigiorno estremamente un’esecuzione che, nonostante alcune carenze a che la sua ricomparsa al Sadler’s Wells sia il segno una recensione di Brian Ward inverosimili, titoli quali Carmen, Manon, livello vocale, fu, a suo modo, emozionante, dell’apprezzamento del suo raro talento, un Capita a volte di dover assistere ad un La traviata, Aida e Il trovatore, ma nulla mi proprio come lo era stata, alcuni anni prima, apprezzamento più vasto di quello mostrato dal concerto o ad un’opera in una tale situazione aveva preparato ad un’interpretazione quella meravigliosa Walküre di Croydon. Covent Garden, di cui egli fa parte. mentale che, di fatto, ci impedisce di wagneriana contraddistinta da tale profondità Fino ad allora il Wagner di Goodall non Anch’io, come Heyworth, avevo voluto apprezzarne appieno l’interpretazione: posso e nobiltà come quella di cui sarei stato aveva risvegliato un particolare interesse da sperare in qualcosa di più da parte di Goodall affermare con certezza che la sera del 5 marzo testimone quella sera. parte della critica musicale, ma ecco quello che ma nulla: al Covent Garden nella stagione

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successiva non vi fu alcuna rappresentazione da Rankl, Krauss e Beecham e avessi anche a rendere queste rappresentazioni così chi lo indossa di assumere la forma che vuole, diretta da lui, e nella stagione 1962/63 vi fu seguito molte opere trasmesse da Bayreuth, indimenticabili. e l’anello, che Wotan vuole tenere per sé. I solo un’unica esecuzione de Il gallo d’oro, esse mi apparvero come una vera e propria E tuttavia, anche se egli non lo giganti voglio comunque tutto, anche l’anello. dopodichè non vi fu più nulla per altri cinque rivelazione; e lo furono anche per la critica, ammetterebbe mai, per nessuna ragione, il Inizialmente Wotan non vuole separarsi anni. Avremmo dovuto attendere fino all’inizio visto che iniziò immediatamente a scrivere di vero eroe è lui, Reginald Goodall, con un dall’anello, ma viene convinto a darlo ai del 1968 per poter ascoltare nuovamente Goodall definendolo il ‘più grande direttore genio che si è rivelato l’anima del Ring al giganti dalla dea della terra Erda, che lo quest’uomo straordinario. Questa volta, wagneriano vivente’; una realtà di cui alcuni di Sadler’s Wells, e a cui tutti i fedeli ammiratori avverte della maledizione di Alberico. comunque, in un ciclo di rappresentazioni che noi erano stati consapevoli per quindici anni. di Wagner dovrebbero esprimere la loro eterna La maledizione si avvera immediatamente: avrebbero scosso profondamente il pubblico La successione degli eventi è da allora ben gratitudine. Fafner uccide Fasolt e si appropria di tutto il dell’opera e la critica. Poichè le due compagnie nota: le voci riguardo a un ciclo del Ring, la tesoro. Scossi dall’accaduto, Wotan e gli dei del Sadler’s Wells si sarebbero esibite a Londra nuova produzione della Walküre al Coliseum e © 1974 Brian C. Ward entrano il Valhalla in trionfo, accompagnati contemporaneamente, era stato dichiarato che il graduale allestimento negli anni di un ciclo Traduzione: ASA Products, 2000 dal lamento delle Vergini del Reno per il loro vi sarebbe stata una nuova produzione dei completo che avremmo ascoltato per la prima tesoro perduto. Meistersinger von Nürnberg che avrebbe volta nell’agosto del 1973 con il teatro tutto Antefatti della “Walküre” utilizzato le risorse combinate delle compagnie, esaurito per ben sei volte! In Das Rheingold Alberico, il nano nibelungo, Sinopsi ed il 31 gennaio 1968 ebbe luogo la prima di Molti dei cantanti apparsi originariamente ruba l’oro delle Vergini del Reno e crea un una grande serie di rappresentazioni sulla scena dei Meistersinger nel 1968 presero anello che gli dona il dominio universale, Primo Compact Disc wagneriane. Finalmente potevamo assistere ad parte anche alle opere del Ring, anche se dovendo però rinunciare all’amore. Scende a una produzione che era stata realizzata, e non Goodall aveva previsto la partecipazione di Nibelheim e riduce in schiavitù i nibelunghi Atto I solo ripresa, e finalmente potevamo vedere diversi novizi (novizi per i ruoli wagneriani grazie ai poteri dell’anello, costringendoli a Scena: interno d’una capanna quello che Goodall avrebbe fatto per creare uno principali, s’intende): oltre agli eccezionali estrarre oro nelle miniere per suo conto. 1 Da prima che si alzi il sipario si sente il stile teatrale, con la collaborazione di artisti contributi degli artisti summenzionati, nei I giganti Fasolt e Fafner hanno costruito il frastuono della tempesta che infuria. La devoti come Norman Bailey, Alberto Remedios, ruoli di Wotan/Wanderer, Siegmund/Siegfried, Valhalla per Wotan a patto di avere in cambio tempesta si calma: entra in scena un uomo Gregory Dempsey, Derek Hammond Stroud e, Mime, Alberich e Hagen/Hunding, vi fu la Freia, dea della giovinezza e della bellezza. sfinito sfuggito ai suoi inseguitori. 2 L’uomo di conseguenza, Clifford Grant. magnifica Brünnhilde di Rita Hunter e le Wotan, su consiglio dello spirito del fuoco non sa chi vive nella capanna, ma crolla La fortuna mi ha consentito di assistere a interpretazioni incredibilmente convincenti Loge, offre invece loro l’oro dei nibelunghi. I spossato sulla pelle di fronte al fuoco. Entra in diverse rappresentazioni dei Meistersinger al delle coraggiose Emile Belcourt, Ann Howard giganti accettano. Wotan e Loge scendono a scena dall’interno della capanna una donna Sadler’s Wells e al Coliseum e, sebbene fossi e Katherine Pring, senza dimenticare Nibelheim e con uno stratagemma tolgono ad richiamata dal rumore. Si allarma nel vedere stato testimone di una serie di spettacoli diretti comunque tutti coloro che hanno contribuito Alberico il Tarnhelm magico, che permette a l’estraneo disteso svenuto, ma tira un sospiro

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di sollievo quando scopre che è ancora vivo. 10 Hunding trasalisce: lo straniero è il riuscito: forse è lui, Wehwalt! 14 Si preludio dell’orchestra al secondo atto: una L’estraneo chiede da bere, la donna gli porta nemico contro il quale è stato chiamato a abbracciano e vengono improvvisamente sinfonia appassionata e sfrenata ispirata alla dell’acqua in un corno. 3 La donna gli spiega combattere dalla sua gente, ora ospite a casa illuminati dalla luna che sembra benedire il spada magica, alla fuga e all’amore di che quella è l’abitazione di Hunding, suo sua. Il dovere dell’ospitalità lo protegge per la loro amore. 15 La Primavera e la sorella Siegmund e Sieglinde. Gradualmente la sposo. Gli porge quindi un corno di idromele. notte, ma al mattino devono duellare Amore, dice Wehwalt, sono unite in musica assume pomposità e impetuosità, La musica rivela che si sono innamorati a all’ultimo sangue. Ordina alla moglie di matrimonio. 16 – 17 Sieglinde dice a Wehwalt annunciando l’entrata in scena degli prima vista. 4 L’uomo vuole andarsene per preparargli la bevanda per la notte, lei esegue che lui è la sua Primavera. Continuano a immortali. Dalle cime rocciose Wotan osserva evitare che la disavventura che lo perseguita esitante, guardando insistentemente al tronco parlare d’amore. 18 Sieglinde gli dice che lui le la scena con la figlia prediletta, la Valchiria coinvolga anche la donna, ma lei gli risponde di frassino centrale della casa. Hunding la è più vicino di qualsiasi altra cosa, a parte il Brünnhilde. Strumento del suo volere, le di avere già dimestichezza con l’infelice segue dopo aver ricordato a Wehwalt che suo riflesso o l’eco della sua voce. Wehwalt le ordina di proteggere Siegmund durante il compagna. Lui dice di chiamarsi Wehwalt (che dovranno combattere il mattino seguente. rivela che il nome di suo padre non era Wolfe duello con Hunding. 2 Brünnhilde lancia vuol dire: aspetto triste). 11 Si fa notte. Wehwalt è solo e disarmato. ma Wälse e che lui stesso è un Wälside. Lei si gioiosamente il suo grido di battaglia: Hunding, annunciato dalle tube minacciose Suo padre gli promise che avrebbe trovato una riempie di gioia: ora sa che lui è suo fratello e “Hojotoho!” Avvisa Wotan che sta per di Bayreuth, torna a casa. 5 La donna gli spada nel momento di suprema necessità. lo chiama con il suo nome proprio originale: giungere sua moglie Fricka, protettrice del racconta quanto è successo. 6 Hunding Invoca il padre: “Wälse! Wälse! Dov’è la tua Siegmund (Vittorio). 19 – 20 Siegmund si alza focolare domestico, nel suo carro trainato da dichiara la sua capanna sacra all’ospite; nota la spada?” Dal fuoco che si sta spegnendo con un balzo, raggiunge il tronco ed estrae la due arieti. somiglianza della moglie e dell’estraneo e gli scaturisce una vampa che punta al tronco, spada chiamandola per nome, Nothung 3 Fricka chiede a Wotan di proteggere il chiede di raccontargli la sua storia. dove ora si vede l’elsa di una spada. Una (Necessità), offrendola in dono nuziale. diritto nuziale di Hunding e punire gli amanti 7 – 8 Wehwalt narra: sua madre venne tromba dell’orchestra esegue il tema della Sieglinde gli dice il suo nome e gli rivela che è incestuosi: 4 – 6 se Wotan sancisce l’amore uccisa da alcuni banditi e sua sorella gemella spada magica. sua sorella. Siegmund esclama: “Fiorisca il di Siegmund e Sieglinde, l’autorità morale rapita quando era ancora piccolo; venne 12 La moglie di Hunding torna nella scena sangue dei Wälsidi!” e la abbraccia mentre si degli dei ne verrebbe permanentemente cresciuto dal padre, soprannominato Wolfe, buia. Ha dato da bere a Hunding un forte chiude il sipario. sminuita. Gli rinfaccia tutte le volte che lui finché anch’egli non scomparve. Così rimase sonnifero. Prega lo straniero di prendere la l’ha tradita. 7 Wotan gli spiega che Siegmund da solo, evitato da tutti. 9 È ora giunto qui spada. 13 Il giorno del suo matrimonio, Secondo Compact Disc è un eroe libero e che ha un compito da nella capanna di Hunding per sfuggire ai contratto senza il suo assenso, uno straniero assolvere: Fricka risponde che Siegmund è in persecutori di una giovane donna a cui vestito di grigio apparve e infilò la spada nel Atto II realtà uno strumento di Wotan e non può volevano imporre un matrimonio e che lui ha tronco. L’orchestra rivela che lo straniero era Scena: sommità di una montagna rocciosa e quindi portare a termine il compito di cui cercato di aiutare: lei e tutti i suoi familiari Wotan. Nessuno dei presenti riuscì a estrarla; selvaggia parla. 8 Wotan è costretto a cedere a sono morti, solo Wehwalt è riuscito a salvarsi. lei sapeva che solo il suo salvatore ci sarebbe 1 La fuga degli amanti viene descritta dal malincuore a tutte le richieste di Fricka:

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Siegmund deve essere ucciso da Hunding; fermarsi neanche un momento, terrorizzata al vittoria. Promette quindi di punire esprime la propria gratitudine e gioia prima di Wotan e Brünnhilde non dovranno pensiero di Hunding che li insegue. Ma la severamente Brünnhilde per la sua partire in fretta. 7 Brünnhilde si nasconde tra proteggerlo e la spada deve perdere il potere stanchezza prevale ed ella si accascia nelle disobbedienza. le sorelle Valchirie all’arrivo di Wotan che la magico. 9 Brünnhilde torna in scena e Fricka, braccia di Siegmund. 5 – 6 Mentre lui la chiama furiosamente. 8 – 9 Senza badare trionfante, le comanda di ricevere i contrordini tiene in braccio seduto su una roccia, Quarto Compact Disc alle Valchirie che gli chiedono di perdonare, da Wotan. 10 Wotan si sfoga con Brünnhilde, Brünnhilde gli appare come in sogno e gli Wotan ordina a Brünnhilde di mostrarsi. confessandole il suo senso d’impotenza. predice che morirà e la seguirà nella sala del Atto III 10 Lei stessa, la figlia a lui più vicina, è causa 11 – 13 Riassume con lei tutti i fatti che Valhalla riservata agli eroi. 7 – 8 Siegmund Scena: vetta di una montagna rocciosa della sua punizione: non sarà più una hanno portato al conflitto attuale, raccontati rifiuta di separarsi da Sieglinde e minaccia di 1 Il preludio orchestrale descrive il volo delle Valchiria, 11 non abiterà più nel Valhalla, non in Das Rheingold (più che per ricordare la uccidere lei e il figlio che porta in grembo. Valchirie (le figlie guerriere di Wotan e di potrà più vedere Wotan; rimarrà addormentata trama al pubblico, è una ricapitolazione 9 Brünnhilde a questo punto decide di Erda, dea della terra) che giungono sulla vetta e inerme sulla roccia finché non verrà necessaria al piano sinfonico di Wagner). salvare entrambi e di sfidare il volere di Wotan della montagna, loro punto d’incontro. Il risvegliata dal primo uomo che, trovandola, la 14 – 15 Nella narrazione Wotan rivela di (mentre in realtà sta solo eseguendo ciò che sipario si alza. Le Valchirie giungono una a possederà e la porterà nella propria casa dove essere convinto che solo l’intervento di un eroe Wotan desidera realmente). Scompare una con i corpi degli eroi uccisi in battaglia lei dovrà servirlo. 12 Wotan caccia via le di sua volontà possa impedire la fine del improvvisamente. che porteranno insieme nel Valhalla. 2 Arriva Valchirie che cercano di dissuaderlo. mondo 16 voluta da Alberico il nibelungo, che 10 Siegmund poggia delicatamente sul suolo per ultima Brünnhilde portando in sella non il 13 – 14 Brünnhilde rimane prostrata. Dopo a tale scopo ha anche generato un figlio: Sieglinde addormentata e si prepara al duello corpo di Siegmund, ma Sieglinde ancora in una lunga pausa si difende dicendo di aver Hagen. 17 – 18 Wotan ordina a Brünnhilde di con Hunding annunciato dal suono del suo vita. 3 Brünnhilde chiede alle sorelle solamente eseguito il vero volere di Wotan. eseguire il volere di Fricka e di non prestare corno. 11 Sieglinde si risveglia da un incubo e Valchirie di aiutarla a nascondere Sieglinde: 15 – 17 Lei ha difeso Siegmund perché lo attenzione ai suoi desideri. si trova sola. Nello stesso istante 12 Siegmund Wotan le sta inseguendo e si vendicherà su amava. Wotan ha creato tale amore e con esso e Hunding si affrontano sul passo della entrambe. Nessuna Valchiria osa sfidare l’ira di la volontà di disobbedire a Fricka. Lei non ha Terzo Compact Disc montagna. Brünnhilde protegge Siegmund Wotan. 4 Sieglinde stessa vuole morire ma tradito, ma ha compiuto il proprio dovere. dall’alto, ma all’improvviso appare Wotan che Brünnhilde le rivela che porta in grembo il Wotan si commuove ma non cede. 18 Lei gli 1 Wotan si allontana rapidamente; rompe con la sua lancia la spada di Siegmund futuro eroe Wälside. Per salvarsi Sieglinde deve ricorda che i Wälsidi sono suoi figli e gli rivela Brünnhilde lascia la scena più lentamente, permettendo a Hunding di colpire a morte il fuggire sola e nascondersi nella foresta che Sieglinde, da lei salvata, è gravida e ha con profondamente scoraggiata. 2 Si ode suo avversario. Brünnhilde raccoglie Sieglinde profonda di Fafner il drago, 5 dove darà alla sé la spada di Wotan. Il padre le ricorda che è nuovamente l’aria musicale della fuga che svenuta e la porta via. Wotan con un gesto luce il figlio che chiamerà Sigfrido e a cui stato lui stesso ad aver spezzato la spada. Il annuncia l’ingresso in scena di Siegmund e della mano fulmina Hunding e ne spedisce lo donerà i pezzi della spada del padre. destino di Brünnhilde è ormai deciso: 19 deve Sieglinde. 3 – 4 Sieglinde non vuole spirito a portare a Fricka la notizia della 6 Sieglinde, al colmo della commozione, rimanere addormentata e inerme. 20 – 21 Le

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concede alla fine di circondarla con un fuoco Ottavio, Tamino, Max (Der Freischütz), spettacoli a Melbourne, Adelaide e Brisbane. all’Opéra de Marseille; Alidoro (La magico che terrà almeno lontani i codardi Alfredo, Faust (nell’opera di Gounod e nella In Inghilterra, Alberto Remedios ha ricevuto Cenerentola), Oroveso (Norma), Matteo (Fra salvandole l’onore. Wotan la solleva per darle Damnation de Faust di Berlioz), Des Grieux l’onorificenza del CBE in occasione del Diavolo di Auber), Sparafucile (Rigoletto), il Re l’addio. (Manon), Sansone (Samson et Dalila), Lenski, compleanno della Regina nel 1981. (Aida), Lodovico (Otello), ed Hagen, oltre a Baciandola sugli occhi, le toglie lo stato di Erik (Der fliegende Holländer), Lohengrin, ruoli ne I puritani, Il trovatore e Tannhäuser divinità e l’addormenta. La distende quindi Walther (Die Meistersinger von Nürnberg), Il cantante basso australiano Clifford Grant ha alla San Francisco Opera; e Nilakantha (Lakmé sulla montagna con elmo e lancia. 22 Punta Tristano, Siegmund, Sigfrido e Bacco (Ariadne studiato a Sydney, Melbourne e Londra, ed ha di Delibes) e Pimen (Boris Godunov) a Sydney. solennemente la sua lancia contro un macigno auf Naxos). Ha fatto il debutto alla Royal fatto la sua prima comparsa in un’opera con la Dopo essere comparso ne Les Huguenots di e ordina a Loge, lo spirito del fuoco, di Opera, Covent Garden nella parte di Dimitri New South Wales Opera Company nel ruolo Meyerbeer con l’ Opera Australia nel 1990, ha circondare la rupe con un cerchio di fiamme. (Boris Godunov) ed è ritornato nella parte di di Raimondo in Lucia di Lammermoor. È lasciato l’opera, ritornando però a cantare nel 23 Wotan decreta che coloro che temono la Florestano, Enea (Les Troyens), Max, Erik, entrato nella Sadler’s Wells Opera (che più 1993 come Alvise Badoero ne La Gioconda sua lancia non riusciranno a passare il fuoco Sigfrido, Bacco e Marco (The Midsummer tardi diventò l’English National Opera), dove con l’Opera North. Ha collaborato con artisti magico. Lentamente, se ne va. Ormai il suo Marriage di Sir Michael Tippett). Si è anche è comparso nella parte di Seneca insigni quali Dame Joan Sutherland, Otto potere è ridotto. Il destino del mondo dipende esibito con la Welsh National Opera e la (L’incoronazione di Poppea), del Klemperer, Sir Adrian Boult e Sir Colin Davis. dall’eroe che ancora deve nascere, Sigfrido, suo Scottish Opera ed ha passato due anni con Commendatore (Don Giovanni), di Sarastro nipote, e dalla semidea ora semplice mortale l’Opera di Francoforte. Ha fatto la sua prima (Die Zauberflöte), di Silva (Ernani), del Padre Nato in South Africa, il baritono basso che dorme sola sulla rupe. comparsa alla Metropolitan Opera, New York Guardiano (La forza del destino), di Filippo II Norman Bailey ha studiato a Vienna e durante nella parte di Bacco ed è anche apparso a San (Don Carlos), di Re Enrico (Lohengrin), di la prima parte della sua carriera ha cantato in William Mann, 1976 Francisco (nella parte di Dimitri e Don Pogner (Die Meistersinger von Nürnberg), di Austria e Germania. È poi ritornato nel Regno Traduzione: ASA Products, 2000 Carlos), a Los Angeles, San Diego e Seattle Fafner, Hunding e Hagen (Der Ring des Unito dove ha cantato con tutte le compagnie (come Sigfrido), a Boston (nella parte di Faust Nibelungen) e nei ruoli principali ne Il barbiere d’opera più importanti. È uno dei principali Alberto Remedios, tra i principali tenori eroici di Gounod) ed al Teatro colón a Buenos Aires di Siviglia, Rigoletto, Madama Butterfly, cantanti di Wagner della sua generazione, inglesi della sua generazione, ha studiato a (nella parte di Peter Grimes). Con Dame Joan Manon, Oedipus Rex e Peter Grimes. collegato particolarmente con la parte del Liverpool insieme a Edwin Francis ed al Royal Sutherland ha fatto una tournèe in Australia È comparso anche nel ruolo del Dottor personaggio principale nel Fliegende Holländer College of Music, facendo la sua prima nel ruolo di Edgar (Lucia di Lammermoor), Bartolo (Le nozze di Figaro) alla Royal Opera, e come Hans Sachs in Die Meistersinger von comparsa a teatro con la Sadler’s Wells Opera Alfredo, Lenski e Faust, e contatti stretti con Covent Garden; con parti nel Nabucco e Nürnberg. Ha anche cantato come Landgraf in (che più tardi diventò l’English National quel paese gli hanno permesso di fare Die Zauberflöte alla Welsh National Opera; Tannhäuser con Opera North e Wotan/il Opera) nella parte di Tinca ne Il tabarro. Con comparse nelle parti di Florestano, Siegmund, Nettuno (Il ritorno d’Ulisse in patria) alla giramondo e Gunther con l’English National quella compagnia è comparso nei ruoli di Don Radames e Otello con l’Opera Australia oltre a Glyndebourne Festival Opera; Hunding Opera, dove come membro della compagnia

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ha anche cantato nella parte di Pizarro Nata a Douglas nell’Isola di Man e dopo aver Dopo aver studiato a Liverpool con Edwin Abigaille (Nabucco), Lady Macbeth, Leonora e (Leonore di Beethoven), Conte di Luna studiato alla School of Music di Birmingham, Francis e successivamente con Dame Eva Aida, ma è anche comparsa in ruoli di primo (Il trovatore), Alfio (Cavalleria rusticana), la soprano lirica Margaret Curphey ha fatto Turner ed altri, la soprano drammatica Rita piano in Idomeneo, Turandot, Lohengrin, Scarpia (Tosca), il Padre (Hänsel und Gretel), una tournèe con l’Opera for All ed ha passato Hunter è stata in tournée con la Carl Rosa Tristan und Isolde ed Elektra. Si è esibita con il Principe Gremin (Eugene Onegin), due anni nel coro del Festival di Opera Company prima di diventare una prima artisti di alto livello quali Birgit Nilsson (nella Kutuzov (Guerra e pace di Prokofiev) e il Glyndebourne prima di entrare nella Sadler’s attrice nella Sadler’s Wells Opera (che più tardi parte di Sieglinde contrapposta al suo ruolo di Guardiaboschi (La piccola volpe astuta) tra gli Wells Opera (che più tardi diventò l’English diventò l’English National Opera), dove ha Brunilde alla Metropolitan Opera), Carlo altri ruoli. Con la Royal Opera, Covent National Opera), dove ha fatto la sua prima cantato nella parte di Marcellina, Donna Maria Giulini, Lorin Maazel, Sir Yehudi Garden è comparso nella parte di Balstrode comparsa nella parte di Micaela (Carmen) Anna, Odabella (Attila), Leonora (Il trovatore), Menuhin, Sir Simon Rattle e Richard Hickox. (Peter Grimes, anche in tournée a Palermo) e di continuando nel ruolo di La Musica (Orfeo di Amelia (Un ballo in maschera), Elisabeth de Rita Hunter ha ricevuto numerose Germont (La traviata), Ford (Falstaff), Monteverdi), la Contessa (Le nozze di Figaro), Valois (Don Carlos), Santuzza, Musetta (La onorificenze oltre al CBE nel 1980. Wolfram (Tannhäuser), Kurwenal (Tristan und Pamina, Ninetta (La gazza ladra), Maria bohème), Senta e la Fata Morgana (L’amore Isolde), Donner (Das Rheingold), Wotan Stuarda (nell’omonima opera di Donizetti), delle tre melarance di Prokofiev) oltre ad altri Dopo aver vinto una borsa di studio alla Royal (Die Walküre), Klingsor e Amfortas (Parsifal), Violetta, Elisabetta de Valois (Don Carlos), ruoli. Ha attratto l’attenzione del mondo Opera, la mezzosoprano Ann Howard di Jochanaan (Salome) ed il Maestro di musica Santuzza (Cavalleria rusticana), sia come Mimì musicale al principio degli anni ‘70 per le sue Londra ha studiato a Parigi ed al suo ritorno (Ariadne auf Naxos). Ruoli più recenti hanno che come Musetta (La bohème), Marguerita interpretazioni nella parte di Brunilde, un dalla Francia è entrata nella Sadler’s Wells incluso Oroveso (Norma), Banquo (La Damnation de Faust di Berlioz) ed Ellen ruolo che ha coperto in tutto il mondo, e poco Opera (che più tardi diventò l’English (Macbeth), il Re (Aida), il Dottore (Wozzeck) Orford (Peter Grimes) oltre a molti altri ruoli. dopo esordì a Berlino, alla Royal Opera, National Opera), dove le sue parti hanno e Schigolch (Lulu). La sua carriera Le sue interpretazioni in opere di Wagner Covent Garden, alla Metropolitan Opera, New incluso Azucena, la principessa Eboli, Musetta internazionale lo ha visto sui palcoscenici delle hanno incluso Elsa (Lohengrin), Eva York (per parecchie stagioni consecutive), a (La bohème), Carmen, Dalila, Conception opere ed ai festival più importanti in tutta (Die Meistersinger von Nürnberg), Sieglinde, Monaco di Baviera, a San Francisco, New (L’Heure espagnole), Ortrud (Lohengrin), Europa e negli Stati Uniti, incluse parecchie Brunilde e Gutrune. Ha preso parte alla prima Orleans ed in Australia, paese con cui ha dei Brangäne, Fricka, la Strega (Hänsel und stagioni a Bayreuth, ed a collaborare con rappresentazione nel Regno Unito di Lucio rapporti particolarmente stretti, e dove si è Gretel), il Compositore (Ariadne auf Naxos), direttori quali Sir Colin Davis, Sir Georg Solti, Silla di Mozart al Camden Theatre, è infine stabilita nel 1985. È anche comparsa Baba il Turco (The Rake’s Progress), Katisha James Levine, Carlo Maria Giulini, Wolfgang comparsa in partecipazione straordinaria in con la Welsh National Opera, al Festival del (The Mikado), la Regina delle fate (Iolanthe) e Sawallisch, Claudio Abbado e Daniel parecchie opere in Europa, ha vinto Pacific Northwest a Seattle (come Brunilde nel Auntie (Peter Grimes). È anche comparsa con Barenboim. Per Chandos ha registrato la parte un’onorificenza alla Gara Internazionale di ciclo completo del Ring) ed ai festival più la Royal Opera, Covent Garden (Amneris), la principale in King Priam di Sir Michael Sofia in Bulgaria, e continua anche una importanti in tutto il mondo. Ha ottenuto un Welsh National Opera (la Duchessa ne La Tippett. carriera attiva come cantante in concerti. gran successo nel repertorio italiano di Norma, Grande-Duchesse de Gérolstein e in The Doctor

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of Myddfai di Sir Peter Maxwell Davies), la Nabucco, Attila, Macbeth, Don Carlos, Fidelio, Opera e la Scottish Opera e si è esibita in La contralto Anne Collins entrò nella Sadler’s Scottish Opera (Brangäne, Fricka, Cassandra Der fliegende Holländer, Tannhäuser, Lohengrin, concerto e recital alla Royal Festival Hall, alla Wells Opera (che più tardi diventò l’English in Les Troyens e la Vecchia in Candide di Tristan und Isolde, Der Ring des Nibelungen, Royal Albert Hall (sotto la direzione di National Opera), dove il suo repertorio Bernstein) e l’Opera North (l’ospite in Boris Elektra (nel ruolo principale), Ariadne auf Bernard Haitink) ed alla Wigmore Hall. includeva L’incoronazione di Poppea, Le Compte Godunov). Ripartendo la sua carriera Naxos, Jenu˚fa (Kostelnicka) e Peter Grimes. Tra Ory, Un ballo in maschera, Madama Butterfly, internazionale tra l’Europa e le Americhe del i direttori d’orchestra con cui ha lavorato La mezzosoprano Sarah Walker ha sviluppato Arabella e parecchi ruoli, tra cui quello più Nord e del Sud, è comparsa in opere in citiamo Claudio Abbado, Giuseppe Sinopoli, una carriera eccezionale in recital ed opera, famoso come Erda, nel ciclo del Ring di Francia, all’Opera nazionale della Baviera di Carlo Maria Giulini, Wolfgang Sawallisch, comparendo in festival, sale da concerti e teatri Wagner. Si è esibita di frequente con la Royal Monaco, all’Opera nazionale di Vienna, al Sir Charles Mackerras, Sir Edward Downes, dell’opera in tutta Europa, nell’America del Opera, Covent Garden, la Welsh National Teatro San Carlo di Napoli, a Genova ed a Sir Colin Davis, Mark Elder, Lorin Maazel, nord, in Australia e Nuova Zelanda con molti Opera, l’Opera North e la Scottish Opera, ed Lisbona, e ad Edmonton, Montreal, Los James Levine e Seiji Osawa. dei più rinomati direttori d’orchestra, cantanti è comparsa ai festival di Glyndebourne, Angeles, New York (sia alla Metropolitan ed accompagnatori. Il suo repertorio operistico Aldeburgh, Wexford e Camden ed ai Opera che alla New York City Opera), a La carriera internazionale della soprano Anne va da Claudio Monteverdi (Il ritorno d’Ulisse Promenade Concerts della BBC. Si è esibita in Washington D.C., Baltimore, New Orleans, Evans l’ha vista sui palcoscenici dei teatri in patria e L’incoronazione di Poppea) e concerto, a festival e con compagnie di opera Santa Fe, Messico e Santiago. dell’opera più importanti in tutta Europa e Francesco Cavalli (La Calisto) a Sir Peter in tutta Europa, includendo i teatri dell’opera nelle Americhe del nord e del sud, in un Maxwell Davies (Taverner) ed Aulis Sallinen di Lione, Strasburgo, Ginevra ed Amburgo, Elizabeth Connell ha stabilito la propria repertorio rivolto particolarmente all’opera (The King Goes Forth to France). Ha stretti l’Opéra di Parigi ed il Châtelet théâtre reputazione nel repertorio drammatico di tedesca, da Beethoven (Leonora in Fidelio) a legami con la Royal Opera, Covent Garden e musical, il Théâtre royal de la Monnaie a soprano, particolarmente le opere di Strauss (la Marschallin nel Der Rosenkavalier e si è esibita anche di frequente con la English Bruxelles ed il Teatro alla Scala di Milano. Le Beethoven, Wagner e Strauss. Dopo il suo Ariadne), con successi particolarmente National Opera. Le sue numerose registrazioni esibizioni in America hanno incluso la esordio al festival di opera di Wexford è significativi nei ruoli wagneriani di Brunilde, rispecchiano l’immensa gamma del suo Metropolitan Opera di New York. Ha fatto comparsa in Guerra e pace di Prokofiev Isolda e Sieglinde. È comparsa al Festival di repertorio, includendo, su Chandos, musica di molte registrazioni, tra le quali, per Chandos, all’inaugurazione della Sydney Opera House Bayreuth sotto la direzione di Daniel Manuel de Falla (El amor brujo) e Mozart Peter Grimes sotto la direzione di Richard ed ha continuato a mantenere una Barenboim dal 1989 al 1992 ed ha preso parte (Requiem), oltre a Giulio Cesare e Faust, Hickox, che ha vinto un premio Grammy. collaborazione ben stretta con l’Opera ai festival di Ravello e di Edimburgo oltre che entrambi in associazione con la Peter Australia. La sua carriera internazionale l’ha ai Promenade Concerts della BBC (per la ‘Last Moores Foundation. In Inghilterra, Sarah Acclamata dalla critica e dal pubblico, vista in teatri dell’opera e festival in tutta Night of the Proms’). In Gran Bretagna è Walker ha ricevuto l’onorificenza del CBE in L’Orchestra di English National Opera, primo Europa e nell’America del nord in un comparsa con la Royal Opera, Covent Garden, occasione del compleanno della Regina nel violino Barry Griffiths, ha ricevuto negli repertorio che include Idomeneo, Norma, l’English National Opera, la Welsh National 1991. ultimi anni diversi premi prestigiosi, tra cui il

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Royal Philharmonic Society Music Award e un esecuzioni in Inghilterra delle composizioni produzione completa del Ring des Nibelungen, per la Welsh National Opera e Tristan e Olivier Award for Outstanding Achievement in corali di Bruckner, Stravinsky e Szymanowski, costruita tra il 1970 ed il 1973 e la prima data Parsifal alla English National Opera. Ottenne Opera. L’Orchestra è al centro della vita oltre che le prime composizioni di Britten. in inglese per molti anni. Continuò poi a l’onorificenza del CBE nel 1975 e fu fatto artistica dell’Opera e, oltre a esibizioni liriche Verso la fine degli anni ‘30 lavorò per assistere, dirigere Das Rheingold e Die Walküre per la cavaliere nel 1985. Reginald Goodall morì nel al Coliseum di Londra è stata anche vista sul tra gli altri, Albert Coates e Malcolm Sargent. Royal Opera, Tristan und Isolde e Die Walküre 1990 ad ottantotto anni. palco in concerto. Inoltre molti dei musicisti All’inizio della seconda guerra mondiale partecipano al lavoro del Baylis Programme del diventò direttore della Wessex Philharmonic dipartimento di educazione e “outreach” Orchestra con base a Bournemouth. dell’Opera e con l’English National Opera Durante il mese di giugno 1945, facendo Studio allo sviluppo di nuove opere, in parte della Sadler’s Wells Opera (che più tardi particolare The Silver Tassie di Mark-Anthony diventò l’English National Opera), diresse la Turnage che è stata uscita in prima mondiale prima esecuzione di Peter Grimes al Sadler’s nel febbraio 2000. L’Orchestra appare in Wells Theatre appena riaperto. L’anno numerose registrazioni, tra cui la sua seguente prese parte con Ernest Ansermet alle registrazione dell’Otello di Verdi diretto da prime esecuzioni del Rape of Lucretia di Mark Elder, che apparirà presto su Chandos Britten durante la prima stagione del con il patrocinio della Peter Moores dopoguerra del Glyndebourne Festival. Foundation. Altre registrazioni per Chandos/ Immediatamente dopo si associò al Covent Peter Moores Foundation sono Maria Stuarda, Garden, dove per venticinque anni successivi Giulio Cesare, Il barbiere di Siviglia, Rigoletto diresse un repertorio che andava da Il trovatore (produzione di Jonathan Miller), La traviata e a Troilus and Cressida. Werther. Solo raramente ebbe la possibilità di dirigere opere del compositore che più ammirava, Il direttore d’orchestra inglese Reginald Richard Wagner. Questa lacuna fu colmata nel Goodall nacque nel 1901 e studiò con 1968, non dalla Royal Opera ma dalla Sadler’s Malcolm Sargent e Constant Lambert al Royal Wells, che lo invitò a dirigere una nuova College of Music. Dal 1929 al 1936 fu produzione dei Meistersinger von Nürnberg. Il organista e maestro del coro a St Alban the suo successo fu così straordinario che ritornò Martyr, Holborn, dove condusse le prime alla compagnia per dirigere quella leggendaria

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Brünnhilde, Sieglinde and the Valkyries, Act III, Scene 1 Brünnhilde and Wotan, Act III, Scene 3

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COMPACT DISC ONE tremendous exertions; his raiment and general Valiant, strong is the man, Siegmund appearance proclaim him a fugitive. Seeing no one, though he’s weary now. Weaponless am I: Act One he closes the door behind him, walks to the hearth, a wounded guest and throws himself down there, exhausted, on a Siegmund (suddenly raises his head ) cannot trouble your husband. Inside a dwelling bearskin rug. A drink! A drink! In the middle stands a mighty ash-tree, whose Sieglinde (with anxious haste) Sieglinde prominent roots spread wide and lose themselves in Oh quickly, show me the wounds! Scene 1 I’ll bring some water. the ground. The summit of the tree is cut off by a (She quickly takes a drinking-horn and goes out of jointed roof, so pierced that the trunk and the Siegmund Siegmund (shakes himself and sits up quickly) 2 the house with it. Returning with it filled, she offers boughs branching out on every side pass through it, The storm drove me here; Slight are they it to Siegmund.) through openings made exactly to fit. We assume here I must shelter. unworthy your care; Cool your lips with this drink that the top of the tree spreads out above the roof. no bone in my body (He sinks back and remains for a while stretched that I’ve brought you! Around the trunk of the ash, as central point, a broken at all. out, motionless. Sieglinde enters from the door of Water – will you not drink? room has been constructed. The walls are of rudely the inner room, thinking that her husband has Had my shield and spear been as strong, hewn wood, here and there hung with plaited and returned. Her grave look changes to one of surprise Siegmund (drinks and hands her back the half as strong as my body, woven rugs. In the foreground, right, is a hearth, when she sees a stranger on the hearth.) horn. As he signals his thanks with his head, his I would never have fled; whose chimney goes up sideways to the roof; behind glance fastens on her features with growing but they shattered my spear and shield. the hearth is an inner room, like a storeroom, Sieglinde (still at the back) interest.) And so I fled reached by a few wooden steps. In front of it, half- A stranger here? Cool and refreshing – the enemies’ wrath; drawn, is a plaited hanging. In the background, an Where has he come from? now I am well; a thunderstorm entrance-door with a simple wooden latch. Left, the (Quietly, she comes a few steps closer.) my curse of care broke on my head. door to an inner chamber, similarly reached by Who sought this house, suddenly light; Yet, swifter than I was fleeing, steps. Further forward, on the same side, a table and lies near the fire? my spirits revive; all my faintness has fled. with a broad bench fastened to the wall behind it (As Siegmund does not move, she comes a little my eyes enjoy Darkness had covered my eyes – and wooden stools in front of it. closer and looks at him.) a blessed, glorious sight. the sunlight shines on me now. 1 A short orchestral prelude of violent, stormy He’s exhausted And who has brought me to life? character introduces the scene. When the curtain and does not move. Sieglinde (goes to the storeroom, fills a horn with rises, Siegmund, from without, hastily opens the Can he have fainted here, Sieglinde mead, and offers it to Siegmund with friendly main door and enters. It is towards evening; a or is he dead? 3 This house and this wife eagerness) fierce thunderstorm is just about to die down. For a (She bends over him and listens.) belong to Hunding. I bring you a drink moment, Siegmund keeps his hand on the latch and Ah no, he is breathing; He will welcome his guest: of honeyed mead; looks around the room; he seems to be exhausted by it seems that he’s sleeping. stay here till he returns. say that you’ll not refuse.

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Siegmund You bring no ill fate to me, Siegmund (watching Hunding calmly and firmly) I know not the way that I took; Will not you taste it first? for ill fate has long been here! Rest and drink, nor can I tell you (Sieglinde sips from the horn and gives it back to Siegmund (deeply moved, remains where he is; he both she brought: where I have wandered. him. Siegmund takes a long draught, while his gaze gazes intently at Sieglinde, who lowers her eyes in Why should you then reproach her? May I now learn that from you? rests on her with growing warmth. Still gazing, he embarrassment and sadness. A long silence. Hunding takes the horn from his lips and lets it sink slowly, Hunding (at the table, motioning to Siegmund to sit) Siegmund returns into the room.) Sacred is my hearth; while the expression on his face tells of strong This house is mine, Wehwalt, that is my name. sacred keep you my house. emotion. He sighs deeply, and gloomily lowers his this land is mine; Hunding – I will await him. (He hands his weapons to Sieglinde, and says to her) gaze to the ground. With trembling voice) Hunding is your host. Go, make ready our meal! 4 Evil fortune’s never far from me: (He leans against the hearth; his eyes fix themselves Turn to the west (Sieglinde hangs the weapons on the branches of the may I keep it with calm and steady sympathy on Sieglinde. when you leave my house, ash-tree, fetches food and drink from the storeroom, away from you! Slowly, she raises her eyes again to his. They gaze and there my kin and prepares the table for supper. Involuntarily she (He starts up to go.) into one another’s eyes, during a long silence, with live in rich homesteads, turns her eyes again to Siegmund. Hunding looks I rested sweetly; an expression of the deepest emotion.) where Hunding’s honour is guarded. keenly and with astonishment at Siegmund’s I feel refreshed. You may honour me too: features, comparing them with his wife’s; aside) I must go on my way. Scene 2 will my guest not tell me his name? How like to my wife there! Suddenly Sieglinde starts, listens, and hears (Siegmund, who has sat down at the table, gazes (He moves towards the back.) A glittering snake Hunding, who is leading his horse to the stable thoughtfully in front of him. Sieglinde has placed seems to shine in their glances. Sieglinde (turning round quickly) outside. She goes quickly to the door and opens it. herself next to Hunding, opposite Siegmund, on (He hides his surprise and turns, as if unconcerned, Who pursues you? Why must you flee? Hunding, armed with shield and spear, enters, and whom she fastens her eyes with evident sympathy to Siegmund.) pauses at the threshold on perceiving Siegmund. He and intentness. Hunding, observing them both) Siegmund (arrested by her cry; slowly and sadly) You have strayed turns to Sieglinde with a glance of stern inquiry. Though you fear Ill fate pursues me, far from your way; to trust it to me, follows my footsteps; Sieglinde (in answer to Hunding’s look) you rode no horse my wife there longs to learn it. ill fate advances – 5 There he lay, to reach my house. See, how eagerly she waits! soon it will reach me. feeble and faint; What painful journey This ill fate you must not share! need drove him in here. brought you to me? Sieglinde (unembarrassed and eager) So I must leave your house. Guest, I would know Hunding Siegmund who you are. (He strides swiftly to the door and lifts the latch.) You cared for him? 6 Through field and forest, Sieglinde (calling to him with impetuous self- Sieglinde meadow and marsh, Siegmund (looks up, gazes into her eyes, and begins forgetfulness) I said you’d welcome him; driven by storm gravely) No, do not leave! cared for him as guest. and starkest need – 7 Friedmund no one could call me;

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Frohwalt – would that I were! Many a raid him I could not find; Tell us more, guest; I’m Wehwalt, named for my sorrow. was made on us both, my father was not there. tell of the fight Wolfe, he was my father; but we had learnt Then I lost my love for the woods; in which you lost spear and shield. his two children were twins – to defend our lives. I mingled with warriors and women. Siegmund (with increasing excitement) my unhappy sister and I. (turning to Hunding) But all in vain, A child in distress Both sister and mother A Wölfing tells you this tale, often I tried called for my aid; were lost – and as ‘Wölfing’ often I’m known. to win a friend, her kinsmen wanted my mother killed Hunding to woo a maid – to force the maiden and my sister borne off – Wonderful, wild adventures everywhere I was distrusted. to marry a husband she feared. both gone while I was a boy. came to our daring guest, Ill fate lay on me. Hearing her cry, Valiant and strong was Wolfe; Wehwalt the Wölfing! For what I thought was right, I came to her help. his foes were many and fierce. I think that I’ve heard of the pair, others reckoned was wrong, Her cruel kin And hunters bold I’ve heard unholy stories and what seemed to me bad, met me in fight; were the boy and his father. spoken of Wolfe others held to be good. they fell before my spear. Once, weary and worn, and Wölfing, too. And so it was wherever I went, I’d killed her fierce, cruel brothers. we came from the chase, outlawed by all whom I met; The maid threw her arms round the dead; Sieglinde and found our home laid waste. striving for gladness, her rage had turned into grief. But tell us more, O stranger: A heap of ash found only woe! With wildly streaming eyes was all that was left; where is your father now? And so I was Wehwalt always; she bathed the dead with her tears, a stump where once Siegmund yes, Wehwalt! – Sorrow is mine. as she mourned for the death of those an oak tree had stood; 8 The Neidings raided again, who’d wronged her – that ill-fated bride. (He turns his eyes to Sieglinde and observes her the corpse of my mother fell on my father and me; Then her brothers’ kinsmen sympathetic glance.) lay at my feet; and many a hunter rushed to the place; all trace of my sister fell in the battle; Hunding vowing vengeance, was lost in smoke. they fled through the woods, 9 So the Norn who dealt you this fate, angrily fell on me, This cruel blow was dealt chased by us both; she felt no love for you: raging around me, by Neidings who sought revenge. like chaff we scattered the foe. no one greets you with joy eager to kill me. As outlaws then They parted my father and me; when you arrive as guest. Meanwhile the maid we took to the woods; in the fight I lost him. stayed by the dead; there I lived A long while I sought him. Sieglinde my shield and spear with Wolfe my father; Though I found the wolfskin Manly hearts do not fear sheltered her life, in hunting I spent my youth. that he had worn, a weaponless lonely man! till spear and shield

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were hacked from my hands. (With anxious gestures Sieglinde steps between the Scene 3 to light the gloom? I was weaponless, wounded; two men. Hunding, harshly) On the ash-tree Siegmund is alone. It has become quite dark. The she was killed while I watched: Go from the room! there’s a starry gleam. room is lit only by a feeble fire on the hearth. I fled from the furious host; Linger not here! My eyes are blinded, Siegmund sinks down on the couch near the fire on the bodies she lay dead. Prepare my drink for the night, dazzled with light; and broods silently for a while, in great agitation. (turning to Sieglinde with a look filled with and wait for me in there. lightnings flash from the tree. sorrowful fervour) (Sieglinde stands awhile undecided and thoughtful. Siegmund How the shining gleam You asked me, now you must know Then she turns slowly and with hesitating steps 11 A sword was pledged by my father, inspires my heart! why I’m not Friedmund – but Wehwalt! towards the storeroom. There she again pauses and to serve me in hour of need. Is it the glance (He stands up and walks to the hearth. Sieglinde, remains standing, lost in thought, with her face half I am unarmed that shone from her eyes, pale and deeply stirred, lowers her eyes.) turned away. With quiet resolve she opens the in my enemy’s house; did she leave it cupboard, fills a drinking-horn, and shakes some as a hostage here to linger behind, Hunding (rises) spices into it from a container. Then she turns her helpless I wait. when she went from the room? 10 I know a troublesome race; eyes on Siegmund so as to meet his gaze, which he But fair woman, (From now on, the fire on the hearth gradually they do not respect keeps unceasingly fixed on her. She perceives that loveliest eyes: sinks.) what we revere; Hunding is watching, and goes at once towards the a new emotion Shadows of darkness they are hated by all men – and me. bedchamber. On the steps she turns once more, looks fills my heart. clouded my eyes; I heard a summons to vengeance: yearningly at Siegmund, and indicates with her eyes, This woman who holds me bound, but her radiant glance Death to the stranger persistently and with eloquent earnestness, a whose enchantment tears at my heart, fell on me then, who killed our kin! particular spot in the ash tree’s trunk. Hunding as slave she’s held by a man warming and lighting my heart. Too late came I, starts, and drives her with a violent gesture from the who mocks his weaponless foe. Glorious rays but now that I’m home, room. With a last look at Siegmund, she goes into Wälse! Wälse! of the golden sun, I find that stranger here; the bedchamber, and closes the door behind her. Where is the sword? with gladdening splendour he sought my house for his rest. Hunding takes down his weapons from the tree-trunk.) The shining sword encircled my head, (He advances.) With weapons man should be armed. that alone can save me, till in the mountains it sank. My house guards you, (to Siegmund, as he goes) when there should break from my breast (a new faint gleam from the fire) Wölfing, today; You, Wölfing, meet me tomorrow, that frenzy my heart still hides? Yet once more, as it went, for the night you are my guest. and then – fight with me! (The fire collapses, and a bright glow springs up, evening radiance did shine; But with trusty weapons Guard yourself well! striking the place on the ash-trunk indicated by and the ancient ash-tree’s trunk defend you tomorrow; Sieglinde’s look, where now a sword-hilt is clearly was lit by a golden glow; I choose the day for our fight: (He goes into the chamber; the closing of the bolt is seen.) that light is fading; as payment I will have blood. heard from within.) What’s glinting there the gleam has gone;

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shadows of darkness they’d come here to witness his wedding. none could move the blade from its place. in you, all that gather around me: He married a wife That sword is still in the tree. I sought is found. deep in my breast there lingers on against her will; I knew then who he was, Though you were shamed, that last smouldering glow. robbers had made her their prize. come to greet me in my grief; though sad was my life, (The fire has burnt out; complete darkness. The Sadly, I sat I know, too, though I was outlawed, door at the side opens softly. Sieglinde, in a white while they were drinking; who alone and you were disgraced, garment, comes out and advances lightly but a stranger entered the house: can draw the sword from the tree. joyful vengeance, And oh, have I found quickly towards the hearth.) an old man dressed all in grey; blessed gladness! his hat hung so low today that friend, I laugh now Sieglinde that one of his eyes was hidden; come from the distance in fullest delight, 12 Are you awake? but the other’s flash to end my grief? as I embrace your glory, filled them with terror: Then all that I’ve suffered feel your beating heart! Siegmund (springing up in joyful surprise) none could counter in pain and distress, Who steals this way? (The large door flies open.) that threatening gaze. yes, all that I’ve suffered Sieglinde I alone in sorrow and shame, Sieglinde (starts in alarm, and tears herself away) I do. Listen to me! felt in those glances all is forgotten, Ah, who went? Or who has come? In deepest sleep is Hunding; sweet, yearning regret – all is atoned for! I gave him a drug in his drink. sorrow and solace in one. Regained all that (The door remains open; outside, a glorious spring Now, in the night, you are safe! On me smiling, I’d thought I had lost; night; the full moon shines in, throwing its bright he glared at the others; my fondest desires light on the pair, so that suddenly they can fully Siegmund (interrupting her passionately) in his hand he carried a sword; win their fulfilment, and clearly see each other.) Safe when you are near! then drove it deep if I have found that friend, Siegmund (in gentle ecstasy) Sieglinde in the ash-tree’s trunk; and hold that hero to me! No one left – There’s a sword for him who can win it; to the hilt buried it there. Siegmund (embracing Sieglinde with ardour) but one has come: and when that sword is won, But one man alone could win it, 14 Yes, loveliest bride, see him, the Spring then I can call you he who could draw it forth. I am that friend; smiles on our love! noblest of heroes: The guests were warriors; both weapon and wife I claim! (Siegmund draws Sieglinde to him on the couch the strongest alone they rose to the challenge; Fierce in my breast with tender vehemence, so that she sits beside him. masters the sword. but none could master the sword. blazes the vow Increasing brilliance of the moonlight) So listen well, mark what I tell you! Many tried it that binds me ever to you. 15 Winter storms have vanished 13 My husband’s kinsmen but all were baffled; For all that I’ve sought at Spring’s command; sat in this room, the strongest seized it in vain – I see now in you; in gentle radiance

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sparkles the Spring, are freed by the brother; Siegmunde (carried away) Siegmund on balmy breezes, the barriers fall 17 Oh sweetest enchantment, I know your dream, light and lovely, that held them apart; woman most blessed! and feel it, too: working wonders joyfully greeting in ardent yearning on his way; as now they meet: Sieglinde (close to his eyes) you were my dream! Oh, hold me close you, on wood and meadow united are Spring and Love! Sieglinde softly breathing; and clasp me to you, Sieglinde 18 The stream has shown wide and smiling to see more clearly 16 You are the Spring, my reflected face – are his eyes. that holy light the Spring I have yearned for and now I find it before me; The songs of happy birds that shines from eyes, in frost and in winter’s ice. in you I see it again, reflect his voice; from countenance, My heart felt the glow, just as it shone from the stream! sweet the fragrance and so sweetly steals to my heart. grew warm when you came; of his breath; Siegmund when my eyes beheld you, I knew you. Siegmund from his ardent blood the flowers You are the dream Everything used to be strange, The Spring’s fair moon are joyfully blooming; that I felt in my heart. friendless all that was round me; shines on you here, buds and blooms like far off things and unknown, crowns with glory Sieglinde (quickly turning her eyes away from him) have sprung at his call. all that ever drew near. your lovely hair. Be still! Again He waves his wand of magic But you came Ah, now I know that voice is sounding, over the world; then all was clear: what captured my heart; the voice which I heard winter and storm yield for I knew you were mine my glances feast in delight. once as a child – to his strong command: when I beheld you. But no! I know when I heard it: as soon as his words were spoken What I hid in my heart, Sieglinde (pushes the locks back from his brow, and (excitedly) the doors that barred him were broken, all I am, gazes at him in astonishment) when through the woods I called, for how could they keep us clear as the day, Your noble brow and echo’s voice in reply. parted from him? all was revealed; is broad and clear; To clasp his sister Siegmund the sound of this truth its delicate veins here he has flown; Oh loveliest music, rang in my ear, with my fingers I trace! for Love called to the Spring; voice that enchants me! when in winter’s frosty desert I tremble with the rapture and Love was hidden my eyes first beheld my friend. of my delight! Sieglinde (again gazing into his eyes) deep in our hearts; A marvel stirs in my memory: And your gleaming eyes, but joyfully laughs to the light. (She throws her arms around his neck, enraptured, although you came but today, I’ve seen it before: The bride and sister and gazes closely into his face.) I’ve seen your face before! the stranger in grey

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gazed on me thus that sword in the tree! 20 Siegmund, the Wälsung, COMPACT DISC TWO when he came to console my grief. So now let me name you here you see! By his glance as I have loved you: As bride-gift Act II his child knew him well – Siegmund – he brings you this sword; A wild, craggy summit I knew by what name I should call him! that is your name! and claims with it (She pauses a moment and then continues softly.) his loveliest bride; In the background, a gorge slopes up from below to Wehwalt, is that what you’re called? Siegmund (leaps up, hurries to the trunk, and and from this house a high ridge of rocks, from which the ground again Siegmund grasps the sword hilt) he leads her away. sinks to the front. 19 Siegmund call me, Far from here, No more that name, Scene 1 now you are mine: and Siegmund am I! follow me now, my sorrow has turned to rapture! The proof is the sword, onward to the laughing Wotan, armed for battle, carrying his spear; before my hand soon shall hold it! land of bright Spring. him Brünnhilde, as a Valkyrie, likewise fully armed Sieglinde Promised by Wälse Your guard is Notung, the sword, And Friedmund was no name Wotan in hour of need, should Siegmund die, conquered by love! 1 for a sufferer. now it is found; Go bridle your horse, (He has embraced her, to draw her away with him.) Siegmund I grasp it now! warrior maid! Name me yourself; Yearning desire Sieglinde (in highest excitement tears herself away, Seize your shield; by what name can you love me? in longing and need, and stands before him) battle is near. My name, I’ll take it from you! yearning desire Is this Siegmund, Brünnhilde’s off to the fight, in longing and need, standing before me? the Wälsung is victor today! Sieglinde Hunding falls to him; You told me that Wolf was your father. burning bright in my breast, Sieglinde am I; drives to deeds and death. I longed for you. leave him to lie; Siegmund Notung! Notung! Your own dear sister for Walhall he is not fit. A Wolf when he hunted foxes! so name I the sword! and bride you have won with the sword! Now hasten away, But when his eye Notung! Notung! ride to the field! shone on me proudly, Siegmund Broad, shining steel. Brünnhilde (shouting as she leaps from rock to as your eye shines on me now, Show me your sharpness, Bride and sister be to your brother; rock up to the heights on the right) why then – Wälse his name. glorious blade! 2 the blood of these Wälsungs is blessed! Hoyotoho! Hoyotoho! Sieglinde (beside herself ) Come forth from the scabbard to me! Hiaha! Hiaha! Was Wälse your father, (With a powerful effort, Siegmund draws the sword (He draws her to him with passionate fervour; with Hoyotoho! Hiaha! and are you a Wälsung? from the tree, and shows it to the astonished and a cry, she falls on his breast. The curtain falls (On a high peak she stops, looks into the gorge at Then it is yours, enraptured Sieglinde.) quickly.) the back, and calls back to Wotan.)

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I warn you, father, Fricka (as she approaches, moderates her pace and to avenge marriage vows, as you must know; look to yourself; places herself with dignity before Wotan) the holy vows they have broken! so hear my words of advice: brave the storm In the mountains where you hide, Wotan since Fricka is famed blowing your way. to shun the sight of your wife, Unholy for her blessing on lovers, Fricka’s coming – your wife; here I have call I the vows bestow on them your blessing, she’s drawn along by two of her rams. found you at last, that bind unloving hearts; on Siegmund’s and Sieglinde’s love! Hi! How she swings to claim the help that you owe me. and do you Fricka (breaking out in deep indignation) her glittering whip! 6 Wotan expect me to act, So this is the end The wretched beasts Let Fricka’s troubles to exert my power of the gods and their glory, are sweating with fear; freely be told. where yours is helpless? now you have fathered wheels rattle and rumble, For where bold spirits are moving, Wölfing the Wälsung? whirl her on to the fray. Fricka I stir them ever to strife. I speak frankly; A woman’s battle I have heard Hunding cry: am I not right? Fricka is not to my taste, revenge the wrong they have done! The race of the gods If you encourage rather the clangour As wedlock’s guardian by you is forgotten! adulterous love, of martial arms. I answered him. You cast aside then proudly go further Take care that you weather the storm; I swore what you once held in honour; and praise as holy I’m happy to leave it to you! I would punish the deed you break every bond the incest there has been, Hoyotoho! Hoyotoho! this pair dared to commit, that you tied to unite us; the love of a pair of twins! Hiaha! Hiaha! who wronged a husband and me. loosen, laughing, My senses are shocked, Hiahaha! your hold on heaven: Wotan my mind is amazed – that the lustful lovers may flourish, (Brünnhilde disappears behind the mountain But what evil bridal embrace this sinful incestuous pair, height at the side. Fricka, in a chariot drawn by have they done? of sister and brother! who were born as the fruit of your shame! two rams, comes up from the gorge to the top of the The Spring enticed them to love. When came it to pass Oh, why mourn rocky ridge, where she stops suddenly and alights. The power of love that brother and sister were lovers? She strides impetuously towards Wotan in the overcame them both; over virtue and vows, foreground.) and who can resist that power? Wotan when they first were broken by you! 5 Now it’s come to pass! Your faithful wife Wotan (seeing Fricka approaching; aside) Fricka And learn from this you’ve always betrayed; 3 The usual storm, 4 Pretend that you don’t understand! that a thing may happen down in the caverns, the usual strife! And yet you know all too well although it’s not happened before. high on the mountains, But here I must be steadfast! that I have come They love one another, your glance searched

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and lusted for love, Your concern With new deceits Fricka (continuing eagerly) where your roving fancy might lead you. is for things that have been; you were taught to trick me; You sent him the need, Your scorn has broken my heart. but what is still to come – with new excuses as you sent him the sword. Sad in my spirit, to that turn all my thoughts. you would escape me; Can you deceive me, I had to see you Hear this one thing! but for this Wälsung when day and night leading to battle We need a man you plead all in vain: I have watched every step? those barbarous maidens who lives without our protection, in him I find only you; For him you prepared your lawless love who is free from the rule of the gods. what he does, you do through him. that sword in the tree, had brought into being; He alone and you promised him Wotan (with emotion) but you still respected your wife, can accomplish the deed, it would be found. In wildest sorrow for the Valkyrie brood, which, although it will save us, Can you deny it, he grew by himself; and Brünnhild herself the gods are forbidden to do. that your hand alone and I gave him no help. whom you love so well – Fricka has led him where it was hid? they were bound in obedience to me. With crafty reasoning Fricka (Wotan makes a wrathful gesture. Fricka becomes But now a new name you would deceive me. Then do not help him now! ever more confident, as she sees the impression she has taken your fancy, What marvel can be worked Take back the sword has made on Wotan.) and ‘Wälse’ prowls by these mortals? you’ve placed in his hand. The gods do not battle like a wolf through the woodland; with bondsmen; What is this deed which gods cannot do? Wotan now you have stooped And who gives the mortals their power? rebellious slaves must be punished. to the depth of dishonour, The sword? As an equal a mortal woman Wotan Fricka I argue with you; has borne you her children: Do you rate their own Yes, the sword, but Siegmund must fall to me as slave. now to whelps of a she-wolf achievement so low? the magical, (Wotan makes another vehement gesture, and then you would abandon your wife! Fricka glittering sword, is overcome by the sense of his powerlessness.) Go on with your work! Who breathed the soul into men? that the god has given his son! For soul and body, Fill now my cup! Who kindled the light in their eyes? he is your servant, Wotan (violently) You betrayed me; let me be trampled! When you are near, and now must I Siegmund has won it himself then they are strong; be subjected to him? Wotan (quietly) (with a suppressed shudder) 7 when you inspire them, Am I his slave, You never learn in his need. what I would teach you, then they can strive. to smile when he scorns me? to try to conceive a deed You fill them with daring, (From this point, Wotan’s whole demeanour expresses Despised by the world, before that deed comes to pass. then sing their praises to me. an ever-increasing uneasy, profound dejection.) and mocked by the free?

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And can my husband allow me, Fricka The Wälsung dies for my honour! Brünnhilde his goddess, to suffer this shame? Destroy all its magic, Will Wotan now give me his oath? What troubles you so; command it to break! what new grief is this? Wotan (gloomy) Wotan (throwing himself on to a rocky seat in Siegmund falls in the fight! terrible dejection and inner anger) 8 What must I do? Wotan (whose expression and gestures grow in Brünnhilde (still invisible, calling from the heights) Take my oath! intensity from this point, until they culminate in a Fricka 9 Hiaha! Hiaha! Hoyotoho! (Fricka strides towards the back: there she meets fearful outburst) Abandon the Wälsung! Oh infinite shame! Fricka Brünnhilde and stops for a moment before her.) Oh shameful distress! And here is your valiant maid, Fricka (to Brünnhilde) Wotan (with muffled voice) Gods’ despair! He goes his own way. joyfully coming this way. Wotan is waiting there: let him instruct you Gods’ despair! Fricka Brünnhilde how the lot must be cast. Endless remorse! And you’ll give him no help Hiaha! Hiaha! Grief evermore! (She mounts her chariot and drives quickly away.) when he’s called to defend his life? Hiohotoyo! Hotoyoha! The saddest of beings is Wotan! Wotan Wotan (dejected, to himself ) Scene 2 Brünnhilde (terrified, throws shield, spear and helmet from her and sinks at Wotan’s feet in I’ll give him no help. To fight now for Siegmund she rides. Brünnhilde advances with astonished and anxious anxious solicitude) mien to Wotan, who, leaning back on the rocky Fricka (Brünnhilde appears, with her horse, on the rocky Father! Father! seat, his head propped on his hand, is sunk in Do not deceive me; path to the right. On seeing Fricka, she breaks off Tell me, what is it? gloomy brooding. look in my eyes; suddenly and, during the following, she slowly, For your daughter is filled with dismay! the Valkyrie leaves him to die! silently leads her horse down the mountain path, Brünnhilde Oh, trust in me! and then stables it in a cave.) 10 Fricka You know I’m true! Wotan Fricka has won the fight; See, Brünnhilde begs you. The Valkyrie is free to choose. And her shield today since she smiles at the outcome. Father, what news (She lays her head and hands with loving concern Fricka must shelter the honour have you to tell me? on his knees and lap.) Not so; your commandment of your immortal wife! Why this sadness and sorrow? is all she obeys: For men in their scorn Wotan (looks long in her eyes; then he strokes her command her that Siegmund dies! would laugh at our might, Wotan (drops his arm helplessly and lets his head hair with involuntary tenderness. As if coming to jeer at the glorious gods, sink on his breast) himself out of deep brooding, he begins softly) Wotan (breaking out after a violent inner struggle) if today your warlike daughter I forged the fetters; If I should tell you, I cannot destroy him; should not revenge now I’m bound. might I not lose he found my sword! all the wrongs of your wife! I, least free of all living! the controlling power of my will?

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Brünnhilde (answers him equally softly) he was able to gain With eight sisters mark what I say; To Wotan’s will you’re speaking; the Rhinemaids’ glistening gold, you were brought up hear what the Wala foretold! you can say what you will; and with that gold, all his power. and you, Valkyrie, For Alberich’s host what am I, The ring that he made, might avert threatens our downfall; if not your will alone? I cunningly stole it; the doom that the Wala an envious rage Wotan (very softly) but to the Rhine had made me fear – burns in the Niblung. These thoughts that I never have uttered, it was not returned. the shameful defeat of immortals. Yet I have no fear though I may think them, I used the gold Our foes would find us of his dusky battalions, still they’re not spoken. to pay for Walhall, ready for fight; while my heroes keep me secure. I think aloud, then, the hall the giants had built me, you would assemble my army: But if once the ring speaking to you. the hall where I rule all the world. the men whom we bound returns to the Niblung, (in a still more muted, fearful voice, while he gazes For one who knows by our laws in bondage, he conquers Walhall for ever; steadily into Brünnhilde’s eyes) all things that were, the mortals, whom we he who cursed all true love, 11 When youth’s delightful Erda, the wisest, had curbed in their pride, he alone pleasures had waned, holiest Wala, whom by treacherous treaties, by his cursing I longed in my heart for power; warned me away from the ring, shameful agreements, has won the power and driven told of eternal disaster. we’d bound in obedience to bring eternal by impetuous desires, 12 She refused to reveal blindly to serve us; shame on the gods; I won myself the world; more about it, and yours was the task my heroes’ hearts yet all unwitting, in silence she sank from my sight. to stir them to battle, he’d win for himself; I acted wrongly; Then I lost all my joy in life; and arouse brave men he’d make my army trusted in treaties my only desire was to learn. to ruthless war, bend to his will, where evil lay, So I made my way till valiant hordes of heroes and with that force craftily counselled by Loge, down into the depths; had gathered in Walhall's hall! give battle to me. by love’s enchantment So I pondered a way who lured me on – then left. Brünnhilde I conquered the Wala, to keep the ring from the Niblung. Yet the longing And that hall is guarded securely: humbled her silent pride, The giant Fafner, for love would not leave me; many a hero I brought. till she told me all she knew. one of the pair in my power I felt its enchantment. So why are you troubled, Wisdom I won from her words; for whose work I paid That child of night, if we never failed? the cringing Nibelung, the Wala demanded a pledge; the fatal gold – Alberich, broke from his bonds; the wise Erda conceived Wotan Fafner broods on the gold by cursing at love a daughter – Brünnhilde, you. 13 There’s more to tell; he murdered his brother to gain.

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From him must the ring be taken, How can I create one, I had no reply! that filled the words of the Wala: that ring he’s won as his wages. who, not through me, So to her I had to surrender. ‘When the fearful foe of love But the bond that I made but by himself gains in hatred a son, Brünnhilde forbids me to harm him; can achieve my will? the gods may know 16 Then Siegmund must fall in his fight? if I should try Oh godly distress! their doom is near.’ my power would fail. Sorrowful shame! Wotan From Nibelheim These are the fetters With loathing I laid hands on Alberich’s ring, the tidings have come which have bound me; I can find but myself grasped in greed at the gold. that the dwarf has forced a woman; since by my treaties I rule, in all my hand has created! The curse which I fled his gold bought her embrace; by those treaties I am enslaved. This free one whom I have longed for, has fastened on me. and she will bear 14 Yet one can accomplish this free one can never be found; Though I love him, I must forsake him; Alberich’s son; what I may not: – for I have no power to make him; murder the son I love so; the seed of spite a man, a hero vassals are all I create. basely betray him, stirs in her womb; I’ve never shielded, when he trusts! this wonder befell Brünnhilde whom I’ve not prompted, (Wotan’s demeanour changes from the the loveless Niblung; 15 But the Wälsung, Siegmund, foe to the gods, expression of the most terrible suffering to that while I, who loved so truly, is he not free? free of soul, of despair.) my free son I never could win. fearless and bold, Wotan Fade from my sight, (rising up in bitter wrath) who acts alone, Wild and free honour and fame, 17 I give you my blessing, by his own design – was our life together; glorious godhead’s Nibelung son! that man can do he learned to hate the gods, glittering shame! Let all that irks me what the gods must shun; I urged his heart to rebel. And fall in ruins, be yours to inherit; though never urged by me, Now when the gods would kill him, all I have raised! in Walhall’s glorious halls he can achieve my desire! all that he has is a sword; I leave all my work; achieve your unhallowed desires! One at war with all gods, (emphatic and bitter) but one thing I desire: Brünnhilde (alarmed ) he can save us! and yet that sword that ending, Oh speak, father, This friendliest foe, was given by a god. the ending! and tell me my task. oh, how can I find? How could I hope (He pauses in thought.) Oh, where is this free one, to win by deception? And to that ending Wotan (bitterly) whom I’ve not shielded, The lie was revealed works Alberich! Fight boldly for Fricka, who in brave defiance when Fricka arrived: Now I grasp guardian of wedlock’s vow! is dearest to me? I stood ashamed; all the secret sense (drily)

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The choice she made, Wotan COMPACT DISC THREE Sieglinde that choice must be mine: Rebellious child! Further! Further! my own desires are but useless. Do as I say! Brünnhilde (stands for a long time, shocked and Siegmund (embraces her with gentle force) Since my free son I cannot fashion, What are you but the obedient, stunned) No further now! 1 be Fricka’s champion, blind slave of my will? So I obey his command; (He clasps her firmly to him.) fight for her slave! When I told my sorrows, such rage I’ve never seen before. Oh trust me, Sieglinde mine! sank I so low, (She stoops down sadly, and takes up her weapons, Brünnhilde In bliss I embraced you, that I’m scorned, defied with which she arms herself again.) 18 No, have mercy, then you escaped; by the child whom I raised? Shield, spear take back your word! with frenzied haste Daughter, know you my wrath? seem to weigh me down! You love Siegmund; fled from my arms, Your soul would be killed In a joyful fight let your love so fast I could scarce pursue; if you confronted I found they were light! command me: fight for the Wälsung! through wood and field, that fierce, furious rage! This hateful task over rock and stone, Wotan Within my bosom fills my heart with fear. speechless, silent, You must conquer Siegmund, anger is hid, (She gazes thoughtfully before her, and sighs.) flying ahead, and Hunding must win in the fight! that could lay to waste Woe, my Wälsung! I called you all in vain! Guard yourself well, all of a world – In deepest sorrow Now you must rest: be stern and strong; that world I once used to love: this true one must falsely betray you! speak but a word, bring all your boldness woe to him whom it strikes! (She turns slowly towards the back.) ending this silent dread! and force to the fight: He would pay for his pride! See, your brother a strong sword I warn you, then, Scene 3 shelters his bride: has Siegmund; rouse not my wrath! Siegmund guards you from harm! he’ll not easily yield! But swiftly do my command. Arrived at the rocky pass, Brünnhilde, looking into Siegmund’s fated! the gorge, perceives Siegmund and Sieglinde; she (Without her noticing, he has drawn her to the Brünnhilde That is the Valkyrie’s work! watches their approach for a moment and then goes rock seat.) Him you have always into the cave to her horse, disappearing from the Sieglinde (gazes with growing rapture into taught me to love; (He storms away, and quickly disappears among the audience. Siegmund and Sieglinde appear on the for his noble courage crags to the left.) Siegmund’s eyes, then throws her arms passionately pass. Sieglinde comes hastily forwards; Siegmund round his neck and so remains. Then she starts up and valour you love him; tries to restrain her. now you ask me to kill him, in sudden terror.) 3 then I shall refuse! Siegmund Away! Away! 2 Rest for a while; Fly from the cursed one! stay by my side! Unholy

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this form that you clasp; Siegmund for the last time behold me: (He listens to her breathing and makes sure that disgraced, dishonoured, But this shame you have felt, do not refuse she is still alive. He lets her slide downwards so dead is my heart. this shame shall be paid by blood! one accursed woman’s kiss! that, as he himself sinks into a sitting posture, her Cast me from you, So flee you no further; (She throws herself sobbing on his breast, then starts head rests on his lap. In this position they both fling me aside! Hunding shall find us; up again in terror.) remain until the end of the following scene. A long Let winds waft her away, here I shall defeat him: Hear! Again! silence, during which Siegmund bends over who, graceless, was held in your arms! with Notung That is Hunding’s horn! Sieglinde with tender care, and presses a long kiss When in your loving embrace, I shall pierce his heart; And the huntsmen on her brow.) when blissful delight I found, vengeance then you will have won! come to take your life; you gave me all of your heart, no sword helps you Scene 4 and all my love was awaked. Sieglinde (starts up and listens) against the hounds; Brünnhilde, leading her horse by the bridle, comes In that holy enchantment, Hark! The horn call! let it go, Siegmund! out of the cave and advances slowly and solemnly sweetest rapture, Do you not hear? Siegmund, where are you? forwards. She pauses and observes Siegmund from a when all my soul All around, Ah there! I see you now! distance. She again slowly advances. She stops, and senses were won, cries of revenge, Fearful the sight! somewhat nearer. She carries her shield and spear loathing and horror from wood and dale, Dogs have fastened in one hand, resting the other on her horse’s neck, for shameful dishonour ring in my ears. their teeth in your flesh; and thus she gravely regards Siegmund. struck with dismay Hunding has wakened they take no heed this traitorous woman, from heavy sleep! of your noble glance; Brünnhilde who once belonged to a man Hunters, I hear them; all around you leaping 5 Siegmund! and loveless lay in his arms! all have assembled: to tear at your throat – Look at me! Fly from the cursed one, hard on the trail, you fall – I come far let her flee! dogs are howling; in splinters the shining sword! to call you hence. Dishonoured am I, they lead the avengers; The ash is down – Siegmund (raises his eyes to her) bereft of grace: they will kill us for breaking a vow! that tree destroyed! Who are you, say, the purest hero (As if mad, she stares before her.) Brother! My brother! Siegmund – ha! – who so stern and beauteous appear? I must abandon, 4 Where are you, Siegmund? for how can this guilty wife Are you still here? (She sinks senseless into Siegmund’s arms.) Brünnhilde dare to love him. bravest of lovers, Those doomed to death Shame I’d bring to my brother, loving brother! Siegmund alone can see me; shame to him I have loved! With your glorious eyes Sister! Beloved! who meets my gaze

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must turn from the light of life. Siegmund Brünnhilde Brünnhilde (shaking her head) I appear in the fight Are there in Walhall, You’ve gazed on the Valkyrie’s You, Wälsung, to death-doomed heroes: women as well? searing glance, hear what I say: those whom I choose Brünnhilde and now you have no choice. you have been marked for death. have no choice but to die! Fair maidens Siegmund Siegmund Siegmund (looks long, firmly, and searchingly into wait on you there. Where Sieglinde lives I have a sword! her eyes, then bows his head in thought, and at Wotan’s daughter, in joy or pain: My father’s sword length turns resolutely to her again) she will bring you the cup! there must Siegmund live with her: will serve me well: 6 And if I come, Siegmund I’ve gazed on your glance; I defy your threats with the sword! tell me, where will you lead me? Fair goddess I do not fear you: Brünnhilde (with solemn emphasis) with awe I salute you Brünnhilde you cannot force me to go! Gift of the god as Wotan’s child; To Wotan who’s ordered your death; but one thing tell me, immortal! Brünnhilde who’s marked you for his. and he takes his spell from the sword! This brother is blessed I cannot force, He commands: by a bride and sister; not while you live; Siegmund (vehemently) to Walhall come with me. embraces Siegmund but death can force you to go! Still! You’ll waken Siegmund Sieglind as well? I come to tell you my sister from sleep! death is near. (He bends tenderly, in an outburst of grief, over To Walhall’s hall? Brünnhilde Does Wotan rule there alone? Sieglinde.) Here on earth Siegmund 8 Woe! Woe! Brünnhilde you have to leave her: And who is the man Sister and bride, The fallen heroes Sieglinde sees who’ll take my life? you saddest of all trusting women! Siegmund no more. dwell there, too; Brünnhilde Though the world rises they’ll welcome you Siegmund (bends softly over Sieglinde, kisses her gently Hunding kills you today. against you in arms, and greet you to their hall. on the brow, and again turns calmly to Brünnhilde) yet I, whom alone you can trust, 7 Then greet for me Walhall, Siegmund yet I, who have brought you this shame, Siegmund greet for me Wotan, Do you think I’m threatened am not allowed And shall I find there greet for me Wälse by Hunding’s anger? to shield you from danger, Wälse, my noble father? and all the heroes; If you lurk here, I’m told I must fall in the fight! Brünnhilde greet all those fair lusting for blood, Then shame on him Your father waits there and lovely maidens. choose that man as your prey: who bestowed the sword, to greet his son! To Walhall I will not go! I know he will fall in the fight! the sword that will bring my shame!

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Yet though I die here, Brünnhilde Brünnhilde (in a passionate outburst of sympathy) my sister’s grief and pain. I’ll not go to Walhall: I see the distress Oh stay, Wälsung! Did the Valkyrie cast this spell hell may hold me instead! and grief in your heart, Hear what I say! and lull my beloved to sleep, I feel all your suffering, Sieglinde lives then – so that no sound of our fight (He bends low over Sieglinde.) share in your pain! and Siegmund lives by her side! should frighten this suffering maid? Siegmund, I’ll care for your wife; The choice is mine; Lifeless seems she, Brünnhilde (shocked ) I’ll shield her safely from harm. and fate is altered; though still alive; So you would sacrifice Siegmund you, Siegmund, her sorrow is eased; joy everlasting? So long as she lives take my blessing, and win! she smiles in her sleep. (slowly and hesitatingly) I’ll allow no other to touch her: (Horn-calls resound in the far distance.) So peacefully sleep Is she all if I have to die, Hear the call! till the fight is fought; in the world to you I will kill her first while she sleeps Prepare for your fight! then wake when I have won! that maid who lies there Trust in the sword (He lays her gently on the rocky seat and kisses her Brünnhilde (with increasing emotion) limp and afraid in your arms? and strike at his heart. forehead in farewell. He hears Hunding’s horn-call, Wälsung! Madman! You’d leave Walhall for her? Your sword shall be true, and starts up resolutely.) Hear my advice! and the Valkyrie true as well! 11 I hear your call; I’ll care for your wife; Siegmund (looking up at her bitterly) Farewell, Siegmund, hear and depart; I will shield her safely; hero I love! all you deserve So young and fair a son shall be born from your love. I will meet you there in the battle! comes to you. you seem to my eyes; Notung pays all my debt! but how cold and hard Siegmund (drawing his sword ) (She rushes away, and disappears with her horse This sword I know in my heart! into a ravine on the right. Siegmund looks after her (He draws his sword, hastens to the background which a traitor bestowed on the true; You came to mock me; with joy and exultation. The stage has gradually and, on reaching the pass, disappears in the dark this sword now leave me alone, darkened; heavy stormclouds sink down in the stormcloud, from which a flash of lightning that fails me when faced with a fight: you cruel, unfearing maid! background, gradually veiling the cliffs, ravine and immediately breaks.) if it should fail on my foe, But if it delights you rocky pass completely from view.) I’ll use it instead on my friend! Sieglinde (begins to move restlessly in her dreams) to see my woe, (He aims the sword at Sieglinde.) Why doesn’t father return? you’re free to feed on my pain; Scene 5 9 Two lives With the boy he’s still in the woods. may my grief gladden now lie in your power; Siegmund (bending over Sieglinde, listening to her Mother! Mother! your envious heart; take them, Notung, breathing) I feel afraid; but of Walhall’s loveless pleasure glittering steel! 10 Charms of sleep they seem unfriendly – you need tell me no more! Two with a single stroke! are sent to still who are the strangers?

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Smokey darkness – Siegmund (now likewise from the pass) Wotan (At the contemptuous wave of his hand, Hunding smouldering fires – Do you think that I’m weaponless, Away from the spear! falls dead to the ground. Wotan, suddenly breaking now they are flaring, boasting fool? I shatter the sword! out in terrible rage) flaming around – Don’t call on Fricka, (Brünnhilde, with her spear, recoils in terror But Brünnhilde! they burn the house – but fight your own fight; before Wotan. Siegmund’s sword shatters on Where is the guilty one? Oh help me, brother! no help from Fricka today! the outstretched spear. Hunding plunges his Fearful is the fate Siegmund! Siegmund! For see, in your house spear into the unarmed man’s breast. Siegmund I’ll pronounce (She leaps up. Violent thunder and lightning) I drew from the tree falls dead to the ground: Sieglinde, who has when she is caught in her flight! Siegmund! Ah! the strongest, sharpest of swords, heard his death-sigh, falls with a cry, as if lifeless, (He disappears in thunder and lightning. The and its sharpness strikes at your life! (She stares about her in terror; nearly the whole to the ground. As Siegmund falls, the glowing curtain falls rapidly.) stage is covered with black thunderclouds, the (A flash of lightning illumines the pass for a lights on either side disappear at once; a cloud lightning and thunder continue. Hunding’s horn- moment, and Hunding and Siegmund are seen of thick darkness rolls forward; in it, Brünnhilde COMPACT DISC FOUR call sounds near.) fighting there.) is indistinctly seen, as she turns in haste to Sieglinde.) Act III Hunding’s Voice (in the background, from the Sieglinde (with her utmost force) On the summit of a rocky mountain pass) Stop the fight, you madmen! Brünnhilde 12 Wehwalt! Wehwalt! Murder me first! To horse! Come, let me save you! On the right, a pinewood bounds the stage. On the Stand there and fight, left, the entrance to a cave which looks like a (She rushes towards the pass, but suddenly, from (She lifts Sieglinde quickly on to her horse, which is else with my hounds will I hunt you. natural room; above it, the rock rises to its highest above the combatants, on the right, a flash breaks standing near the side gorge, and immediately point. At the back the view is entirely open; rocks of Siegmund’s Voice (from farther off in the forth so vividly that she staggers aside as if blinded. disappears with her. At this moment the clouds part various heights border a precipice, which, it is to be ravine) In the blaze of light Brünnhilde appears, hovering in the middle, so that Hunding, who had just assumed, falls steeply to the background. Occasional Then show yourself; over Siegmund and protecting him with her shield.) drawn his spear from the fallen Siegmund’s breast, cloudbanks fly past the mountain peak, as if driven I’ve come in search of you! is clearly seen. Wotan, surrounded by clouds, stands by storm. Gerhilde, Ortlinde, Waltraute and Brünnhilde Stand and let me face you! on a rock behind him, leaning on his spear and Schwertleite have assembled on the peak, by and Strike him, Siegmund! gazing sorrowfully at Siegmund’s corpse.) above the cave: they are in full armour. Sieglinde (listening in fearful agitation) Trust in the sword! Hunding! Siegmund! Wotan (to Hunding) (Just as Siegmund aims a deadly blow at Hunding, Scene 1 Could I but see them! Go hence, slave! a glowing red light breaks from the left through the Kneel before Fricka: Gerhilde (on the highest point, calling towards the Hunding cloud, in which Wotan appears, standing over tell her that Wotan’s spear background, where a thick cloud is passing) Come here, you treacherous lover! Hunding, holding his spear diagonally out at avenged the shame she felt. 1 Hoyotoho! Hoyotoho! Fricka claims you as prize. Siegmund.) Go! Go! Hiaha! Hiaha!

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Helmwige! Here! Ortlinde’s mare Schwertleite and Waltraute (calling to the right of Rossweisse and Grimgerde’s Voices Come here with your horse! carries Wittig the Irming! the background ) Hoyotoho! Hoyotoho! Hoyotoho! Hoyotoho! Hiaha! Gerhilde (has come down lower) Helmwige’s Voice (in the background ) Hiaha! Hoyotoho! Hoyotoho! Implacable foes (The apparition disappears behind the wood.) Hiaha! were Sintolt and Wittig! Gerhilde The Other Six Valkyries Hiaha! (A flash of lightning breaks through the cloud; in its Ortlinde (leaps up) Hoyotoho! Hoyotoho! light, a Valkyrie on horseback becomes visible; on Hiaha! Your stallion (Their gestures, as well as a bright glow behind the Hiaha! Hiaha! her saddle hangs a slain warrior. The apparition is biting my mare! wood, show that Siegrune has just arrived there. Gerhilde (calling into the wood ) comes closer, moving from left to right past the (She runs into the wood; Gerhilde, Helmwige and From the distance below, two voices are heard at rocky ridge.) Now tether your horses Schwertleite break into laughter.) once.) to graze and rest! Gerhilde, Waltraute, Schwertleite (calling to the Gerhilde Grimgerde and Rossweisse (left, in the Ortlinde (also calling into the wood ) newcomer) The warriors’ war background ) See that the mares are Hiaha! Hiaha! has spread to the horses! Hoyotoho! Hoyotoho! far from the stallions, Hiaha! until our heroes’ (The cloud with the apparition has disappeared to Helmwige (calling back into the wood ) hate has been calmed! the right, behind the wood.) Quiet, Bruno! Waltraute Ortlinde (calling into the wood ) Battle is over. Grimgerde and Rossweisse! (The Valkyries laugh.) Now fasten your chestnut Waltraute (on the highest point, where she has Gerhilde Helmwige (while the others laugh) next to my grey; taken over from Gerhilde as watcher, calls to the They’re riding abreast. My horse has paid she will be glad right side of the background) for the heroes’ anger! to graze by your stallion. Hoioho! Hoioho! (In a cloudbank lit by lightning, moving past from (renewed laughter) Waltraute (calling into the wood ) Siegrune, here! the left, Grimgerde and Rossweisse appear, similarly Who hangs from your saddle? What kept you so long? on horseback, each with a dead warrior on her Rossweisse and Grimgerde (coming from the wood ) saddle. Helmwige, Ortlinde and Siegrune come Hoyotoho! Hoyotoho! Helmwige (coming from the wood ) (She listens to the right.) from the wood and greet the newcomers from the Sintolt the Hegeling! rocky ridge.) The Other Six Valkyries Siegrune’s Voice (from the right side of the Be welcome! Be welcome! Schwertleite background) Helmwige, Ortlinde and Siegrune Far from the grey Work to do! We greet the travellers! Schwertleite then fasten your stallion; Have the others arrived? Rossweiss and Grimgerde! Did you hunt as a pair?

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Grimgerde (They watch with growing astonishment.) Ortlinde The Eight Valkyries We left separately, Help our sister From where have you come and met on our way. Waltraute to leave the saddle! in furious haste? To the pinewood You ride like one who is pursued! Rossweisse she is driving her horse. Helmwige, Gerhilde, Siegrune and Rossweisse If we are all assembled, Hoyotoho! Hoyotoho! Brünnhilde then wait no longer: Grimgerde Ortlinde, Waltraute, Grimgerde and I flee for the first time; to Walhall hurry away; And proud Grane I am pursued; Wotan’s expecting us there. is panting hard! Schwertleite Hiaha! Wotan is hunting me! Helmwige Rossweisse The Eight Valkyries (violently alarmed ) Eight now are we: (Gerhilde and Schwertleite run into the wood. She’s forced him to fly What are you saying? one is to come. Siegrune and Rossweisse follow them.) faster than ever! Speak to us! What? Gerhilde Waltraute (looking into the wood ) Is Wotan hunting you? Ortlinde It’s that swarthy Wälsung And powerful Grane Why do you flee? Who’s that on her saddle? keeping our Brünnhild. has fallen! Brünnhilde (turns anxiously to look around, and Waltraute Helmwige Grimgerde then turns back) Then we must wait That is no man! While our sister lifts O sisters, run until she is here: the maid to the ground! to the mountain summit! Brünnhild is father’s Siegrune Look to the northward, favourite child, It’s a girl, surely. Ortlinde, Waltraute, Grimgerde and if Wotan is near! and if we leave her behind… Schwertleite (Ortlinde and Waltraute run to the rocky peak to Gerhilde Sister, sister! keep a look-out.) And where was she found? Siegrune (watching from the look-out point) What have you done? Quick! What can you see? Hoyotoho! Hoyotoho! She’s here! She’s here! Schwertleite (All the Valkyries return to the stage; with them Ortlinde In furious haste She gives no greeting comes Brünnhilde, supporting and leading A thunderstorm see Brünnhilde rides. to her sisters! Sieglinde.) nears from northward.

The Eight Valkyries (all hasten to the look-out) Waltraute (calling down) Brünnhilde (breathless) Waltraute Hoyotoho! Hoyotoho! Hiaha! Brünnhilde! 2 Shield me and help Threatening clouds Brünnhilde! Hi! Answer our call! in highest need! mass themselves there!

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The Other Six Valkyries Six Valkyries (not Ortlinde and Waltraute) Brünnhilde that dealt his death, Wotan is riding What madness moved you Rossweisse, sister, that killed my Siegmund, his sacred horse! to do this deed? let me have your stallion! had killed me, too. Sister! Brünnhilde! Sister! Far from Siegmund, Brünnhilde Rossweisse Woe! O rebellious Siegmund, from you! The wild pursuer From father, my horse Brünnhilde, Now only my death who hunts me in wrath, refuses to fly. he comes, he comes from northward. how could you break his command! can unite us! Brünnhilde So I shall curse Save me, sisters! Waltraute (on the look-out ) Rescue this maid! Helmwige, hear me! this care that has saved me Dark those stormclouds unless you quickly do as I ask you: Six Valkyries (all but Ortlinde and Waltraute) that fly from the north. Helmwige strike with your sword in my heart! But who is this woman? I hear only Wotan. Ortlinde (also on the look-out ) Brünnhilde Brünnhilde Wotan steers Brünnhilde Live still, O maid; 3 Hear while I tell you. his horse through the storm. Grimgerde! Gerhilde! Sieglinde is she, know that love commands you! Rossweisse, Grimgerde and Schwertleite Grant me your horse! Rescue the son Siegmund’s sister and bride, Schwertleite! Siegrune! one of the Wälsungs whom Wild neighs who will grow from your love: I hear from his horse – See my dismay! a Wälsung lives in your womb! Wotan swears to destroy. Oh, now be true, Her brother’s death Helmwige, Gerhilde and Siegrune as I was to you: Sieglinde (starts in fear at first; then her face lights was Brünnhilde’s task, – snorts and flies on its way! rescue this sorrowing maid! up with sublime joy) so Wotan decreed. Brünnhilde Rescue me, brave one! But Siegmund found my help Sieglinde (who has been gazing gloomily and Rescue my child! in his fight; Woe to this woman coldly ahead, gives a start and makes a gesture of when Wotan arrives; Save me, you maidens, Wotan in wrath rejection as Brünnhilde impulsively embraces her, as and shelter my son! then shattered the sword with his spear: for she is a Wälsung, if to protect her) doomed to destruction! Siegmund fell, 4 Pray suffer no sorrow for me; (An ever-darkening tempest rises in the but I fled So lend me the fastest all I long for is death! background; the thunder draws closer.) here with the wife, horse that you have, O warrior maid, to save the maid from his wrath! Waltraute (on the look-out) and to save her who asked you to save me? The storm’s drawing near! brought her to you. Siegrune I might have died Will you help us both, So you would make us in the field with him; Ortlinde (on the look-out) and save us from the storm that is near? share in your crime? for perhaps the weapon Fly if you fear it!

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The Other Six Valkyries Schwertleite the noblest hero of all, (Brünnhilde, after watching Sieglinde’s departure Off with the woman! There he remains, he shall be born, for a while, turns to the background, looks into the Danger is near! changed to a dragon, O maid, from your womb! pinewood, and then comes forward again in fear.) The Valkyries dare not and in a cave (She draws the pieces of Siegmund’s sword from Ortlinde and Waltraute (descending from the give her their aid. he broods over Alberich’s ring. beneath her breastplate and gives them to look-out) Sieglinde.) Grimgerde They’ve reached the mountain, Sieglinde (on her knees to Brünnhilde) For him you must guard It is not the place horse and rider! Rescue me, maid! for a helpless maid. these broken pieces Rescue a mother! of the sword his father All Eight Valkyries Brünnhilde let fall when it failed him; Woe, Brünnhild! Brünnhilde (raises Sieglinde with sudden And yet, from Wotan’s wrath, for he shall forge Vengeance is here! resolution) there, I know, she’d be safe: the sword once more. Then fly from him swiftly, for father fears it; His name, now learn it from me: Brünnhilde and fly by yourself! he never goes near. Siegfried – victorious and free! O sisters, help! I feel afraid! I will stay for the storm; Waltraute (on the look-out) Sieglinde (deeply stirred ) I will brave Wotan's anger; His rage will crush me Angry Wotan 6 O radiant wonder! unless you shield me from harm. and I’ll draw on myself rides to the rock! Glorious maid! his revenge, Your words have brought me The Eight Valkyries (retreat in fear up the rocky so that you can escape from his rage. Six Valkyries Brünnhilde, hear comfort and calm! height, drawing Brünnhilde with them) This son of Siegmund, Come here, you lost one! Sieglinde his approach in the storm! Oh! We shall save him: Keep out of sight! Ah, where can I escape him? Brünnhilde (showing Sieglinde the direction) may my son return Hide among us here; 5 Fly him swiftly, to thank you himself! be still when he calls! Brünnhilde away to the east! Fare you well! (They hide Brünnhilde in their midst and look Which of you, sisters, Bold in defiance, Be blessed by Sieglinde’s woe! anxiously at the pinewood, now lit by a brilliant journeyed to eastward? endure every ill, fiery glow, while the background has become quite hunger and thirst, (She hastens away in the right foreground. Black dark.) Siegrune thorns and the stones; thunderclouds surround the height; a fearful storm Woe! A gloomy forest laugh at the pain breaks out at the back, with a fiery glare growing Wotan swings himself lies to the east, and grief that will come! brighter on the right.) to the ground! where the Nibelung hoard But one thing know, Wotan’s Voice Here he comes was brought by Fafner, the giant. and guard it ever: 7 Stay, Brünnhild! in furious haste!

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Scene 2 For our trembling sister against me she lifted the spear Brünnhilde now we implore: that by Wotan’s will she bore! could choose my fate, Wotan comes from the pinewood in a towering rage let the angry storm now be calm. Hear me, Brünnhilde! and she chose that fate was against me. and strides to the group of Valkyries on the height, Father, have mercy on her, You whom I fashioned, Once I said to her: looking around for Brünnhilde. calm your dreadful rage! you who owe rouse my men, Wotan Wotan all that you are, and she roused a hero against me. 8 Where is Brünnhild? 9 Weak-spirited, name, even life, to me! Though once you were Where is the guilty one? womanish brood! Say, do you hear me accuse you all that I made you, What, are you daring Such whining ways and hide yourself, you coward, what you become to hide her from me? you learnt not from me! to try to escape your doom? you choose for yourself! I tempered your frames No more child of my will; The Eight Valkyries to fight in the field, Brünnhilde (steps out from the crowd of Valkyries Valkyrie are you no longer; Fearful your cry of anger! made you hard-hearted and advances with humble yet resolute steps down henceforth remain Oh father, pity your daughters; and stern and strong: the rock, close to Wotan) what you chose to be! have we awakened must I hear you all whine and wail 10 Here am I, father; your terrible rage? when I punish a treacherous crime? now tell me my sentence! Brünnhilde (violently terrified ) Wotan I’ll tell you, whimperers, So you cast me off!? Ha, so you mock me? what she has done, Wotan Is that what you mean? Insolent daughters! this shameless sister I sentence you not: Wotan I know Brünnhilde who has prompted your tears: you have brought your doom on yourself. 11 No more will you ride from Walhall: there in your midst. Brünnhilde alone My will alone no more shall you choose Leave her alone, knew all my innermost secrets; awoke you to life, warriors who fall; for she is an outcast, Brünnhilde alone and against that will you have worked. nor bring me those warriors and all her virtue saw to the depths of my spirit! By my commandment to guard my hall; cast away! Through her alone could you act, all my desires took shape in the field: and against me you have commanded. and in Walhall, when we are feasting, Rossweisse yet she has broken Brünnhild no more shall you fill She came here to escape you. the bond of our love, knew my wish, my drink-horn for me; The Eight Valkyries and, faithless, and against that wish she rebelled. no more may I kiss And she asked us for our help! she has defied my desire; Brünnhild the mouth of my child; In fear and anguish my sacred command bore my shield, the host of the gods fled from your rage. openly scorned; and against me my shield was borne. no more shall know you;

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cast for ever Endless disgrace! that rash one shares in her fate: do I deserve to be plunged in disgrace? from the clan of the gods. Stern-hearted God! so now from this peak be gone! Was my dishonour You broke the bond of our love, Ah, spare her, Off with you now! boundless and base, and from my sight, henceforth, Brünnhild is spare her the shame! Do not go near her! for that offence must my honour be lost? [banned! For our sister’s shame on us then would fall! Ride away from the mountain, (She raises herself gradually to a kneeling position.) or the same fate shall be yours! Oh speak, father! The Eight Valkyries (in consternation leave their Look in my eyes: Wotan The Eight Valkyries former position, coming somewhat lower down the 12 silence your scorn, Did you not hear Woe! Woe! rock) what I decreed? soften your wrath, Horror! Woe! That from your band (They separate with loud cries of distress and fly in explain to me Sister, Oh sister! your treacherous sister is banished? haste into the wood. Black clouds gather on the all the grievous guilt No more shall she ride cliffs; a wild tumult is heard in the wood. A vivid that compels you, cruel and harsh, Brünnhilde through the clouds with her sisters to battle; flash of lightning breaks through the clouds; to abandon your true, loving child. Can you deprive me the flower of the beauty in it are seen the Valkyries, close-grouped, their of all you gave? will fade and die; bridles hanging loose, riding wildly away. Wotan (in unchanged attitude, gravely and gloomily) Wotan a husband will gain The storm soon subsides; the thunderclouds all her womanly grace; gradually disperse. During the following scene, Ask what you did; He who comes robs you of all! your deed will tell you your guilt! For here on the peak, that masterly husband in increasingly calm weather, twilight falls, and here you must lie; will make her obey; finally night.) Brünnhilde defenceless in sleep, she’ll sit and spin by the fire, By your command here you will stay; and the world will deride her fate! Scene 3 only I fought. (Brünnhilde sinks with a cry to the ground; the and you’ll belong to the man Wotan and Brünnhilde, who still lies at his feet, are Valkyries, in great agitation, shrink in horror from Wotan who first finds you and wakes you from rest. left alone. A long solemn silence: their positions her side.) Did I command you remain unchanged. The Eight Valkyries (descend completely from the Are you afraid? to fight for the Wälsung? Then flee from the lost one! rocky height, in great consternation, and in anxious Brünnhilde (begins slowly to raise her head a little; Brünnhilde Leave her alone, groups surround Brünnhilde, who lies half-kneeling beginning timidly and becoming more confident) That was your command, and never return! 13 before Wotan) Was it so shameful, as master of fate. Ah no, father! If one of you what I have done, Recall the curse! comes here to console here, that you must punish my deed with endless shame? Wotan Shall our sister bend if she should try Was it disgraceful, But that command to the will of a man? to defy my command, what I have done; you knew I later recalled!

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Brünnhilde one all-conquering fact 15 You, who this love rapturous joy; When Fricka had made you which you could not face; into my heart revealed, you laughed, while drinking change your decision; you turned your back in your sorrow! when you inspired the draught of love, and when her words conquered your will, I who guard your back the Wälsung with your will, and I tasted the gall, you were false to yourself. when you fight in the field, you were not betrayed – drained bitter sorrow and grief! I saw that one thing though I broke your command. 16 You indulged your love; Wotan (softly and bitterly) which you did not: Wotan now let it lead you: Yet you understood me fully; Siegmund I beheld. from me you have turned away. I warned of my rage if you failed; So you would achieve Told him what I longed so dearly to do, So I must shun you; but no, you thought: you’d marked him for death; no more may I share Wotan is weak! but which cruel fate I looked in his eyes then, forbade me to achieve? with you my secret counsels; If I had not reason to punish heard his reply; henceforth our paths you’d be unworthy of my rage. So you thought and I shared that hero’s that your love for me captured so lightly, are parted forever: Brünnhilde grief and distress, while burning woe for, while life shall endure, 14 I know so little, hearing the call broke my heart in two, I, the god, shall no more behold you. but one thing I did know, of his brave lamentation – and terrible grief that the Wälsung you loved. love’s holy yearning, awoke my rage; Brünnhilde I saw all your torment, hopeless despair – when, to save creation, 17 Unworthy of you as you tried proud in defiance, the springs of love this foolish maid, to force yourself to forget this. dauntless in grief! in my tortured heart I’d imprisoned? who, stunned by your counsel, The other thing In my ears it rang; Then, burning with anger, misunderstood, was all you could see, my eyes were dazzled; I turned on myself, when that one command and the sight of that my mind was troubled; from an anguished weakness overruled all the rest: tortured your heart: a new emotion stole through my heart. rising in frenzy, to love him whom you had loved. that Siegmund could not be shielded. Shy, astonished, yearning and raging, If I must lose you, I stood ashamed. and you must leave me, Wotan I was inspired How could I help him, if we sever You knew it was so, and driven to fearful resolve: how could I save him? the bonds that we tied, and yet you went to his help? in the wreck of my ruined world Victory or death, my unending sorrow I’d bury: then half your being Brünnhilde (beginning softly) with Siegmund I’d share it! while you lay lapped you have abandoned, Yes, because my eyes One thought possessed me, in blissful delights, which once belonged to you only. saw but one thing alone, and I had no choice! filled with emotion’s O god, forget not that!

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That other self You turned against me; For as you turned from me, Brünnhilde (embracing his knees) you must not dishonour; I turned from them, I turn from you; This one thing more if you disgrace her, and then it kills all the race. I cannot even you must grant me! it falls on you: ask what you wish: Oh, kill me at once your fame then would be darkened, Brünnhilde your sentence now as I clasp your hand; She who’ll turn from you if I were scorned and despised! I must see fulfilled. destroy your dear one, rescues the race. condemn her to die, Wotan Sieglinde bears Brünnhilde let her breast receive You chose in rapture the holiest fruit; What have you decreed one blow from your spear; the path of love: in pain and grief that I must suffer? but ah! Cast not this shame, follow love’s path, such as no woman suffered, and obey your lord! Wotan this cruel disgrace on her! she will give birth 19 In long, deep sleep (with mild inspiration) Brünnhilde to a Wälsung child. you shall be bound: At your command If I must go from Walhall, Wotan the man who wakes you again, a flame can be kindled and play no more part in your actions, that man shall make you his wife! and take as my master I’ll offer no help – a fiery guardian, some man to obey: either to her Brünnhilde (falls on her knees) girding the rock, be sure no coward or to any Wälsung child. If fetters of sleep to lick with its tongues, makes me his prize; come to bind me, to tear with its teeth Brünnhilde and I must fall the craven who rashly ventures, but see some hero She still has the sword wins me as bride! to the man who finds me, who dares to approach near the rock! that you gave to Siegmund. then one thing more you must grant me; Wotan (overcome and deeply moved, turns eagerly Wotan in deepest anguish I pray! Wotan (vehemently) towards Brünnhilde, raises her from her knees and From Wotan you turned away; Oh, shelter my slumbers, And which I later broke again! gazes with emotion into her eyes) your conqueror he cannot choose. protect me with terrors, Seek not, O maid, 20 Farewell, my valiant, let only one Brünnhilde (softly and confidingly) to change my decision; glorious child! 18 who is fearless and free, You fathered a glorious race; await now your fate, You were the holiest pride of my heart! none but a hero that race cannot bring forth a coward: as it must fall: Farewell! Farewell! Farewell! find me here! a hero will come, I know it; I cannot choose it for you! (very passionately) be born of Wälsung blood. But now I must go, Wotan Though I must leave you, Wotan far from this place; Too much you are asking, and may no longer Name not the Wälsungs to me! too long now I have delayed. too great a grace! embrace you in greeting;

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though you may no more and worldly pleasures a wandering flicker; the sea of fire to encircle the rocks; it presently ride beside me, were all I longed for, once you were bound: spreads toward the background, where it encloses nor bear my mead in Walhall; when fear fastened upon me – be so again! the mountain in flames.) though I abandon you their glorious fire Arise! Come, wavering Loge; Only the man whom I love so, gladdens me now, surround the rock, ring it with flame! who braves my spear-point the laughing delight of my eye: as I take this loving, (During the following he strikes the rock three times can pass through this sea of flame! a bridal fire last farewell! with his spear.) shall blaze to protect you, On somebody mortal Loge! Loge! Appear! (He stretches out the spear as if casting a spell. as never has burned for a bride. one day they’ll shine: 23 (A flash of flame leaps from the rock, and Then he gazes sorrowfully back at Brünnhilde, Threatening flames but I, hapless immortal, gradually increases to an ever-brightening fiery turns slowly to depart, and looks back once more shall flare from the rock; I must lose them for ever. glow. Flickering flames break out. Bright, shooting before he disappears through the fire. The curtain the craven will fear it, (He clasps her head in his hands.) flames surround Wotan. With his spear, he directs falls.) cringe from its fury; And sadly the weak will flee the god must depart; Translation © 1976 by Andrew Porter from Brünnhilde’s rock! one kiss takes your godhead away! Reproduced by permission of For one alone wins you as bride, (He presses a long kiss on her eyes. She sinks back Faber Music Ltd, London one freer than I, the god! with closed eyes, unconscious, in his arms. He gently (Brünnhilde, moved and exalted, sinks on Wotan’s supports her to a low mossy bank, which is breast: he holds her in a long embrace. She throws overshadowed by a wide-branching fir-tree, and her head back again and, still embracing Wotan, lays her upon it. He looks upon her and closes her gazes with solemn rapture into his eyes.) helmet; his eye then rests on the form of the sleeper, 21 These eyes so warm and so bright, which he completely covers with the great steel which, smiling, often I kissed, shield of the Valkyrie. He turns slowly away, then when courage turns round again with a sorrowful look. Then he I acclaimed with kisses, strides with solemn decision to the middle of the while childish prattle stage, and directs the point of his spear towards a in heroes’ praise massive rock.) was heard to pour from your lips: 22 Loge, hear! yes, these gleaming, radiant eyes, Come at my call! which shone so bright in the storm, As when first you were found, while hopeless yearning a fiery glow, consumed my spirit, as when then you escaped me,

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Opera in English on Chandos Christian Steiner CHAN 3000(2)

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You can now purchase Chandos CDs directly from us. For further details please telephone +44 (0) 1206 225225 for Chandos Direct. Fax: +44 (0) 1206 225201. Chandos Records Ltd, Chandos House, Commerce Way, Colchester, Essex CO2 8HQ, UK E-mail: [email protected] Website: www.chandos.net

Any requests to license tracks from this or any other Chandos disc should be made directly to the Copyright Administrator, Chandos Records Ltd, at the above address.

All photographs from the English National Opera production of The Valkyrie by John Garner

Recording producer John Mordler Sound engineer Stuart Eltham Recording venue London Coliseum; 18, 20 and 23 December 1975 Front cover Montage of photographs by John Garner from the English National Opera production of The Valkyrie 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 2000 Chandos Records Ltd digitally remastered from a p 1976 recording c 2000 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

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SOLOISTS/ENGLISH NATIONAL OPERA ORCHESTRA/GOODALLCHAN 3038(4) bit 24 digitally re-mastered 1976 recording p ADD TT 73:06 TT 52:09 TT 47:57 TT 76:02 CHAN 3038(4) COMPACT DISCCOMPACT ONE COMPACT DISCCOMPACT TWO COMPACT DISCCOMPACT FOUR COMPACT DISCCOMPACT THREE 4-disc set 2000 Chandos Records Ltd Printed in the EU c bass tenor soprano soprano soprano soprano soprano soprano soprano soprano - contralto bass-baritone mezzo mezzo-soprano mezzo-soprano DIGITAL 2000 Chandos Records a from Ltd digitally remastered p Clifford Grant Clifford Anne Evans Rita Hunter Katie Clarke Anne Collins Helen Attfield Helen Anne Conoley Alberto Remedios Elizabeth Connell Elizabeth Margaret Curphey Margaret Ann Howard Sarah Walker Sarah Norman Bailey Norman Shelagh Squires Shelagh The Ring of the Nibelung CHANDOS (1813–1883)

WAGNER: THE VALKYRIE Ortlinde ...... Waltraute ...... Schwertleite ...... Helmwige ...... Siegrune ...... Grimgerde ...... Rossweisse...... Gerhilde...... Wotan ...... Sieglinde ...... Hunding ...... English National Opera Orchestra Opera National English REGINALD GOODALL RICHARD WAGNER THE VALKYRIE Play of the Festival Day First acts drama in three Music Wagner Richard by Poem Porter Andrew translation by English Siegmund ...... Brünnhilde ...... Fricka ...... Valkyries: CHANDOS RECORDS LTD Colchester . Essex . England

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