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Updated: June 5, 2025
The last act opens on a high hill, where stands the Valkyries' rock, and amidst thunder, lightning, and rain we get the Ride. Brunnhilda rushes in to her sisters with Sieglinda, tells what she has done, and begs for help. All are aghast and refuse. Sieglinda herself asks no aid; Siegmund is dead, and she has nothing to live for.
Two dramas, the huge encircling tragedy of Wotan in conflict with his wife Fricka, the goddess of laws and covenants, especially the covenant of marriage, and the subsidiary tragedy of Siegmund and Sieglinda, are combined in perfect proportions in the Valkyrie.
Sieglinda feels that the appointed man has come; Siegmund grasps the weapon and triumphantly pulls it out. Then they reveal their names, and recognise one another as brother and sister, and the Act ends. This is the first step towards Wotan's discomfiture. The significance of the Sword theme in the Rhinegold at the moment when he has the Master-idea will now be apparent.
As it passes off, the curtain rises; and there is no mistaking whose forest habitation we are in; for the central pillar is a mighty tree, and the place fit for the dwelling of a fierce chief. The door opens: and an exhausted man reels in: an adept from the school of unhappiness. Sieglinda finds him lying on the hearth.
When her eight sisters learn that she has defied Wotan, they dare not help her; and Brynhild has to rouse Sieglinda to make an effort to save herself, by reminding her that she bears in her the seed of a hero, and must face everything, endure anything, sooner than let that seed miscarry. Sieglinda, in a transport of exaltation, takes the fragments of the sword and flies into the forest.
Siegmund and Sieglinda enter, flying before Hunding; Sieglinda faints, and at last sleeps; and then Brunnhilda steps forward from among the rocks in the gloomy half-light a stern, imposing, indeed an awful, figure, the herald of death, seen only by warriors about to die.
Sieglinda drugs her husband's night-draught, and, while he is sleeping, tells Siegmund of how, when she was abducted, and compelled against her will to marry Hunding, a gray-bearded stranger came in, with his hat drawn over one eye Wotan had but one eye and wearing a dark-blue cloak marked with stars, suggested by the deep-blue star-pierced sky by night.
She is left sleeping on the mountains with a wall of fire around her which only a hero can penetrate. The drama continues with the story of Siegfried, which opens with a scene in the smithy between Mime the dwarf and Siegfried. Mime is welding a sword, and Siegfried scorns him. Mime tells him something of his mother, Sieglinda, and shows him the broken pieces of his father's sword.
Brünnhilda and Sieglinda come in; Brünnhilda tells of her disobedience, and like a flock of wild-fowl disturbed the other Valkyries squeak and gibber in disgust and horror. The music here is perhaps the most operatic part of the opera Brünnhilda begging first one and then another to aid her; one after another refusing in very conventional phrases.
Wotan, then, has descended from his Valhalla, and, taking an earthly wife, begotten two children, Siegmund and Sieglinda, who know themselves to be of the tribe of the Volsungs. These he deserts. Sieglinda is taken captive and made the loveless wife of Hunding; Siegmund, alone in the world, wanders hither and thither, meeting ill-luck everywhere ill-luck prepared by his father.
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