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Updated: June 5, 2025
The scene is one of the fullest dramatic intensity: at last Siegmund asks whether, if he goes to Valhalla, he will find his wife there. "Siegmund will see Sieglinda no more," is the answer: Siegmund for the moment is crushed, but again rebels, and takes his sword to kill first Sieglinda and then himself.
The rigorous logic with which representative musical themes are employed in the earlier dramas is here abandoned without scruple; and for the main theme at the conclusion he selects a rapturous passage sung by Sieglinda in the third act of The Valkyries when Brynhild inspires her with a sense of her high destiny as the mother of the unborn hero.
The scene is indispensable, and the music is, so to speak, coldly adequate: music has no tones to express primness. With the voice of Sieglinda the music at once begins to live in Wagner's own curious fashion. She has nothing left in life, wishes to cause sorrow to no one, wishes only to be left alone to die.
The tempest rages and roars; the Valkyries arrive "by ones, by twos, by threes," at the Valkyries' Rock; and presently, in hotter haste than the rest, Brünnhilda comes in, bringing Sieglinda.
But as the prevailing mood becomes more exalted, so does the music become more lyrical, and the ending of the dialogue, when Brünnhilda's emotion swamps every other consideration than rescuing the lovers, is sheer song. The orchestral part is symphonic throughout, with a few dramatic pauses. One of the most wonderful of these is at Brünnhilda's reply: "Siegmund will see Sieglinda no more."
The sinister growling of the approaching thunder is heard, and, still more sinister, the harsh notes of Hunding's horn; the orchestra rages louder and louder, Sieglinda mutters in her dream, the Valkyrie's call is heard encouraging Siegmund, the crash as the Sword is splintered, and then an awful silence.
There is a moment of suspense; the tragedy is accomplished; and now Wotan must punish Brünnhilda for disobeying his commands; and amidst thunders and lightnings, in flaming wrath, he rides off, and the curtain falls. The drama of Siegmund and Sieglinda is ended; the second inner drama, that of Wotan and Brünnhilda, is begun.
So he devises an artifice to get the ring. He will get a hero-race to work for him and recover the ring and the treasures. Siegmund and Sieglinda are twin children of this new race. Sieglinda is carried off as a child and is forced into marriage with Hunding. Siegmund comes, and unknowingly breaks the law of marriage, but wins Nothung, the great sword, and a bride.
Siegmund lies down to rest; the fire glimmers fitfully, then blazes up, revealing at the point on the trunk at which Sieglinda had gazed a shining sword-hilt, the blade embedded in the trunk. Still Siegmund does not understand, and the fire dies down; he is beginning to slumber when Sieglinda enters and calls him.
The musical idea was obviously suggested by Schubert's "Erl-king." In each we have the same rapidly-reiterated notes in the upper part, and Wagner's bars are simply a variant of Schubert's. The curtain rises on Hunding's hut; the door is burst open, and Siegmund tumbles in exhausted, and falls before the fire. Sieglinda gives him mead, and one sees it is a case of love at first sight.
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