"The Rhinegold & The Valkyrie" by Richard Wagner is an opera libretto, written in the late 19th century. This work serves as the first two parts of Wagner's monumental cycle "Der Ring des Nibelungen," focusing on themes of power, love, and betrayal among gods, heroes, and mythical creatures. The characters central to this opening portion include Wotan, the king of the gods; Alberich, the cursed Nibelung; and the Rhine-Maidens, who lament the loss of their precious Rhinegold. At the start of the narrative, the scene unfolds in the depths of the Rhine, where the Rhine-Maidens play near a shimmering gold treasure. The dwarf Alberich attempts to win their affection but ultimately decides to seize the gold after being spurned. He forswears love and curses it while claiming the Rhinegold to forge a powerful ring. The action then shifts to a mountain where Wotan and his wife Fricka discuss the consequences of a deal that threatens their goddess Freia. Soon, giants enter and demand Freia as payment for constructing Valhalla, igniting tensions between the gods and influencing Wotan's resolve to reclaim the gold. This opening beautifully sets the stage for the epic conflicts and themes of love, greed, and destiny that will unfold throughout the operatic cycle. (This is an automatically generated summary.)
The Rhinegold & The Valkyrie The Ring of the Niblung, part 1
By Richard Wagner
"The Rhinegold & The Valkyrie" by Richard Wagner is an opera libretto, written in the late 19th century. This work serves as the first two parts of Wa...
Wilhelm Richard Wagner was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas. Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk, by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama. He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen.