Die Walküre Information
Die Walküre (The Valkyrie), WWV 86B, is the second of the four operas that form the cycle Der Ring des Nibelungen (The Ring of the Nibelung), by Richard Wagner. Die Walküre's best-known excerpt is the "Ride of the Valkyries".
Wagner took his tale from the Norse mythology told in the Volsunga Saga and the Poetic Edda.[1][2]
It received its premiere at the National Theatre Munich on 26 June 1870 at the insistence of King Ludwig II of Bavaria. It premiered in Wagner's Bayreuth Festival as part of the complete cycle on 14 August 1876. The opera made its United States premiere at the Academy of Music in New York on 2 April 1877.[3]
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Composition
Main articles: Der Ring des Nibelungen: Composition of the poem and Der Ring des Nibelungen: Composition of the musicAlthough Die Walküre is the second of the Ring operas, it was the third in order of conception. Wagner worked backwards from planning an opera about Siegfried's death, then deciding he needed an other opera to tell of Siegfried's youth, then deciding he needed to tell the tale of Siegfried's conception and of Brünnhilde's attempts to save his parents and finally deciding he also needed a prelude that told of the original theft of the Ring.
Wagner intermingled development of the text of these last two planned operas, i.e. Die Walküre, originally entitled Siegmund und Sieglinde: der Walküre Bestrafung (Siegmund and Sieglinde: the Valkyrie's Punishment) and what became Das Rheingold. Wagner had first written of his intention to create a trilogy of operas in the August 1851 draft of "Eine Mittheilung an meine Freunde" (A Communication to My Friends), but did not produce any sketches of the plot of Siegmund and Sieglinde until November. The following Summer, Wagner and his wife rented the Pension Rinderknecht, a pied-à-terre on the Zürichberg (now Hochstrasse 56–58 in Zürich). There he worked on the prose draft of Die Walküre, an extended description of the story including dialogue between 17 and 26 May 1852 and the verse draft between 1 June and 1 July. It was between these drafts that Wagner made the decision not to introduce Wotan in Act I, instead leaving the sword the god had been going to bring on stage already embedded in the tree before the action starts.[4]. The fair copy of the text was completed by 15 December 1852.
Even before the text of the Ring was finalised, Wagner had begun to sketch some of the music. On 23 July 1851 he wrote down on a loose sheet of paper what was to become the best-known leitmotif in the entire cycle: the theme from the "Ride of the Valkyries" (Walkürenritt). Other early sketches for Die Walküre were made in the summer of 1852. But it was not until 28 June 1854 that Wagner began to transform these into a complete draft of all three acts of the opera. This preliminary draft (Gesamtentwurf) was completed by 27 December 1854. Much of the work of this stage of development of the opera overlapped with work on the final orchestral version of Das Rheingold.
As Wagner had included some indication of the orchestration in the draft, he decided to move straight on to developing a full orchestral score in January 1855 without bothering to write an intermediate instrumentation draft as he had done for Das Rheingold. This was a decision he was soon to regret, as numerous interruptions including a four month visit to London made the task of orchestrating more difficult than he had expected. If he allowed too much time to elapse between the initial drafting of a passage and its later elaboration, he found that he could not remember how he had intended to orchestrate the draft. Consequently some passages had to be composed again from scratch. Wagner, nevertheless, persevered with the task and the full score was finally completed on 20 March 1856. The fair copy was begun on 14 July 1855 in the Swiss resort of Seelisberg, where Wagner and his wife spent a month. It was completed in Zürich on 23 March 1856, just three days after the completion of the full score.
Roles
Brünnhilde at the rock, title page art from the 1899 Schott's vocal score.| Role | Voice type | Premiere cast 26 June 1870 (Conductor: Franz Wüllner) | Cast at premiere of complete cycle 14 August 1876 (Conductor: Hans Richter) |
|---|---|---|---|
| Humans | |||
| Siegmund | tenor | Heinrich Vogl | Albert Niemann |
| Sieglinde | soprano | Therese Vogl | Josephine Schefsky |
| Hunding | bass | Kaspar Bausewein | Josef Niering |
| Gods | |||
| Wotan | bass-baritone | August Kindermann | Franz Betz |
| Fricka | mezzo-soprano | Anna Kaufmann | Friederike Grün |
| Valkyries | |||
| Brünnhilde | soprano | Sophie Stehle | Amalie Materna |
| Gerhilde | soprano | Karoline Lenoff | Marie Haupt |
| Ortlinde | soprano | Henriette Müller | Marie Lehmann |
| Waltraute | mezzo-soprano | Hemauer | Luise Jaide |
| Schwertleite | contralto | Emma Seehofer | Johanna Jachmann-Wagner |
| Helmwige | soprano | Anna Possart-Deinet | Lilli Lehmann |
| Siegrune | mezzo-soprano | Anna Eichheim | Antonie Amann |
| Grimgerde | mezzo-soprano | Wilhelmine Ritter | Hedwig Reicher-Kindermann |
| Roßweiße | mezzo-soprano | Juliane Tyroler | Marie Lammert |
Synopsis
Act 1
Sieglinde (Therese Vogl) offers Siegmund (Heinrich Vogl) a horn of mead in Act I of the 1870 productionThis act hinges on hidden identities that are known to the audience. (Wagner uses this situation in operas that are not part of the Ring: in the operas bearing their respective names, Parsifal does not know his own name, and his son Lohengrin is forbidden to reveal his.) The program tells even the first-time viewer the names of the characters, and, from his leitmotif and his covering his missing eye with his hat, the "stranger" or "old man" (described but not seen on stage) and Wotan, Wolfe and the Wanderer who will appear in Siegfried can be recognized as one and the same individual. Siegmund and Sieglinde each withhold their own names until the act's climax.
During a raging storm, Siegmund seeks shelter at the house of the warrior Hunding. Hunding is not present, and Siegmund is greeted by Sieglinde, Hunding's unhappy wife. Siegmund tells her that he is fleeing from enemies. After taking a drink of mead, he moves to leave, claiming to be cursed by misfortune. However, Sieglinde bids him to stay, saying that he can bring no misfortune to the "house where ill-luck lives".
Returning, Hunding reluctantly offers Siegmund the hospitality demanded by custom. Sieglinde, increasingly fascinated by the visitor, urges him to tell his tale. Siegmund describes returning home with his father one day, to find his mother dead and his twin sister abducted. He then wandered with his father until he parted from him as well. One day he found a girl being forced into marriage and fought with the girl's relatives. However, his weapons were broken and the bride was killed, and he was forced to flee to Hunding's home. Initially Siegmund does not reveal his name, choosing to call himself 'Wehwalt', Woeful.
When Siegmund finishes, Hunding reveals that he is one of Siegmund's pursuers. He grants Siegmund a night's stay, but they are to do battle in the morning. Hunding leaves the room with Sieglinde, ignoring his wife's distress. Siegmund laments his misfortune, recalling his father's promise that he would find a sword when he most needed it.
The end of Act I in the 1876 productionSieglinde returns, having drugged Hunding's drink to send him into a deep sleep. She reveals that she was forced into a marriage with Hunding. During their wedding feast, an old man had appeared and plunged a sword into the trunk of the ash tree in the center of the room, which Hunding and his companions had all failed to remove. She expresses her longing for the hero who could draw the sword and save her. Siegmund expresses his love for her, which she reciprocates, and as she strives to understand her recognition of him, she realises it is in the echo of her own voice, and reflection of her image, that she already knows him. When he speaks the name of his father, Wälse, she declares that he is Siegmund, and that the Wanderer left the sword for him.
Siegmund now easily draws the sword forth, and she tells him she is Sieglinde, his twin sister. He names the blade "Nothung" (or needful, for this is the weapon that he needs for his forthcoming fight with Hunding). As the Act closes he calls her 'bride and sister', and draws her to him with passionate fervour.
Act 2
Wotan is standing on a rocky mountainside with Brünnhilde, his Valkyrie daughter. He instructs Brünnhilde to protect Siegmund in his coming fight with Hunding. Fricka, Wotan's wife and the guardian of wedlock, arrives demanding the punishment of Siegmund and Sieglinde, who have committed adultery and incest. She knows that Wotan, disguised as the mortal man Wälse, had fathered Siegmund and Sieglinde. Wotan protests that he requires a free hero (i.e. one that is not ruled by him) to aid his plans, but Fricka retorts that Siegmund is not a free hero, but an unwitting pawn of Wotan. Backed into a corner, Wotan promises Fricka that Siegmund is to die.
Hunding kills SiegmundFricka leaves, leaving Brünnhilde with a despairing Wotan. Wotan explains his problems: troubled by the warning delivered by Erda (at the end of Das Rheingold), he had seduced the earth-goddess to learn more of the prophesied doom; Brünnhilde was born to him by Erda. He had raised Brünnhilde and eight other daughters as the Valkyries, warrior maidens who gather the souls of fallen heroes to form an army against Alberich. Valhalla's army will fail if Alberich should ever wield the Ring, which is in Fafner's possession. Using the Tarnhelm the giant has transformed himself into a dragon, lurking in a forest with the Nibelung treasure. Wotan cannot wrest the Ring from Fafner, who is bound to him by contract; he needs a free hero to defeat Fafner in his stead. However, as Fricka pointed out, he can only create thralls (i.e. servants) to himself. Bitterly, Wotan orders Brünnhilde to obey Fricka and ensure the death of his beloved child Siegmund.
Having fled from Hunding's hall Siegmund and Sieglinde enter the mountain pass, where Sieglinde faints in guilt and exhaustion. Brünnhilde approaches Siegmund, telling him of his impending death. Siegmund refuses to follow Brünnhilde to Valhalla when he finds out that Sieglinde cannot accompany him there. Impressed by his courage, Brünnhilde relents and agrees to protect Siegmund instead.
Hunding arrives and attacks Siegmund. Blessed by Brünnhilde, Siegmund begins to overpower Hunding, but Wotan appears and shatters Notung (Siegmund's sword) with his spear. Disarmed, Siegmund is slain by Hunding. Brünnhilde seizes Sieglinde and the shards of Notung, and flees on horseback. Wotan looks down on Siegmund's body, grieving. He strikes Hunding dead with a contemptuous gesture, and angrily sets out in pursuit of his lawless daughter.
Act 3
The other Valkyries assemble on the summit of a mountain, each with a dead hero in her saddlebag. They are astonished when Brünnhilde arrives with a living woman. She begs them to help, but they dare not defy Wotan. Brünnhilde decides to delay Wotan as Sieglinde flees. She also reveals that Sieglinde is pregnant by Siegmund, and names the unborn son Siegfried.
Wotan arrives in wrath and passes judgement on Brünnhilde: she is to be stripped of her Valkyrie status and become mortal, to be held in a magic sleep on the mountain, prey to any man who happens by. Dismayed, the other Valkyries flee. Brünnhilde begs mercy of Wotan for herself, his favorite child. She recounts the courage of Siegmund and her decision to protect him, knowing that was Wotan's true desire. With the words 'Der diese Liebe mir ins Herz gehaucht' (He who breathed this love into me), introducing the key of E major, she identifies her own actions as Wotan's true will. Wotan consents to her last request: to encircle the mountaintop with magic flame, which will deter all but the bravest of heroes (who, shown through the leitmotif, they both know will be the yet unborn Siegfried). Wotan lays Brünnhilde down on a rock and, in a long embrace, kisses her eyes closed into an enchanted sleep. He summons Loge (the Norse demigod of fire) to ignite the circle of flame that will protect her, then slowly departs in sorrow, after pronouncing: "Whosoever fears the point of my spear shall not pass through the fire." The curtain falls as the Magic Fire Music again resolves into E major.
Noted excerpts
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Ride of the Valkyries
Performed by the American Symphony Orchestra
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- Prelude to Act I (The opening storm)
- Siegmund Spring Song and duet with Sieglinde (Winterstürme wichen dem Wonnemond) (Act I)
- Prelude to Act II
- Wotan's Monologue (Act II)
- Brünnhilde's Announcement of Siegmund's Death (Act II)
- "Ride of the Valkyries" (Prelude and scene 1 ("Hojotoho! Heiaha") from Act III)
- Brunnhilde's pleading (War es so schmählich) (Act III)
- Wotan's Farewell (Leb' wohl) (Act III)
- Magic Fire Music (Act III)
Recordings
Main article: Die Walküre discographyReferences
- ^ Roberta Frank (2005). Wagner's Ring, North-by-Northwest, University of Toronto Quarterly, vol. 74, pp. 671–676.
- ^ Stanley R. Hauer (1991). Wagner and the Völospá [sic], 19th-Century Music, vol. 15, pp. 52–63.
- ^ The Victor Book of the Opera, 10th edition, 1936
- ^ Deryck Cooke (1979) I Saw the World End, London: Clarendon Press. ISBN 0-19-315318-1, pp. 292–294
External links
| Wikimedia Commons has media related to: Die Walküre |
- Wagner Operas. A comprehensive website featuring photographs of productions, recordings, librettos, and sound files.
- Rilstone, Andrew (2004). "The Imperfect Wagnerite". (A Wagner-junkie's review and appreciation of the English National Opera's production of The Valkyrie along with discussion of Wagner's appeal.)
- Complete libretto (in German), following the 1971 re-edition
- Schiavo, Paul (2003) "Saint Louis Symphony Concert Program Notes". (Program notes from the 14 and 15 November 2003 performances of Die Walküre.)
- Die Walküre: Free scores at the International Music Score Library Project.
- Vocal score of Die Walküre
- Full version of Wagner's "Ride of the Valkyries", as performed by the American Symphony Orchestra in 1921. (From the Internet Archives' Collection of Open Source Audio)
- Recording of "Hinweg! Hinweg!" with soprano Lotte Lehmann from the San Francisco Opera in 1936
Categories: German-language operas | Music dramas | Operas | Operas by Richard Wagner | 1870 operas | Operas with a mythological setting
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