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Updated: May 24, 2025
When I can take it to bed with me, and go over it mentally; when I can go through it as I walk along the street, then it has become a part of me; then I can feel I know it." "Mme. Homer holds the banner at the Metropolitan, for rapid memorizing," said her husband. "On one occasion, when Das Rheingold was announced for an evening performance, the Fricka was suddenly indisposed and unable to appear.
The ripple of it ran down the spine of this woman, who at heart was a Hun and to whom the harmonies disclosed, not the mythical gleam of the Rheingold, but the real radiance of the Paliser wealth. At the glow of it she rubbed her hands. In the club window, on the following afternoon, Jones was airing copy. "Capua must have been packed with yawns.
It was often interrupted, and as often recommenced. In its completed form it was performed for the first time at the opening of the Festspielhaus at Bayreuth in 1876, but the first two divisions of the work, 'Das Rheingold' and 'Die Walküre, had already been given at Munich, in 1869 and 1870 respectively.
Does it not seem incredible that the Italian operatic composers should have ignored such poetic means of deepening the emotional color of their songs? But this is by no means all. In the same scene in "Rheingold" to which reference has just been made, the ugly Nibelung Alberich appears presently and tries to catch one of the lovely maidens.
Yet some of the musical pictures in 'Das Rheingold' would be difficult to match throughout the glowing gallery of 'Der Ring des Nibelungen, such as the beautiful opening scene in the depths of the Rhine, and the magnificent march to Valhalla with which it closes. Before the opening of 'Die Walküre, the next work of the series, much has happened.
This not only insures a smooth, melodious flow, but enables the composer to heighten the effect of any situation by choosing consonants that harmonize with it. What, for instance, could be more delightfully descriptive than the words sung by the three Rhine daughters as they merrily swim and gambol under the water in "Rheingold:" "Weia! Waga! Woge, du Welle, Walle zur Wiege! Wagalaweia!
At the theatre either one does not "see" it, or it appears childish. The natural action becomes stiff when clad in musical armour, and the absurdity of trying to make the two agree is forced upon one. In the music of Rheingold one pictures the stature and gait of the giants, and one sees the lightning gleam and the rainbow reflected on the clouds.
I remained unshaken in my resolve to produce my Nibelungen dramas just as though the present operatic stage did not exist, since the ideal theatre of my dreams must of necessity come sooner or later. I therefore composed the libretto of the Rheingold in the October and November of that year, and with that I brought the whole cycle of the Nibelungen myth as I had evolved it to a conclusion.
The Crown Prince giving the Papa Wilhelm kiss, while the trap man plays on the melodeon 'It's the Wrong Way to Tickle Mary, and the Ghost of the Hohenzollern, who ate up her two babies when she found they disturbed her gentleman friend, hovering over the scene like Schumann-Heink in the Rheingold, I would not release that reel for less than a billion dollars down!
It has already been related how Wagner broke off, when midway through 'Der Ring des Nibelungen, and devoted himself to the composition of a work of more conventional dimensions. The latter was 'Tristan und Isolde. Produced as it was in 1865, four years before 'Das Rheingold, it was the first of Wagner's later works actually to see the light.
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