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The jealous, savage ferocity of Hunding is there; Siegmund's and Sieglinda's despair, hope and final burst of ecstatic joy; and at the same time we seem to smell the fresh, wet earth and leaves and to see the sparkling moonlight. The Second Act opens in a wild and rocky place amongst the mountains.
This particular theme of Sieglinda's is, in truth, of no great musical merit: it might easily be the pet climax of a popular sentimental ballad: in fact, the gushing effect which is its sole valuable quality is so cheaply attained that it is hardly going too far to call it the most trumpery phrase in the entire tetralogy.
Wagner well knew when the drama could make its effect almost unaided when, in fact, to write deliberately pathetic music in the older style would be to overdo things. Sieglinda's phrases are simple, many of them exquisite, most of them designed to be sung parlando, rather spoken than really sung. Bathos is avoided: the deepest depths of genuine pathos are touched.
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