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Updated: May 7, 2025
Brunhild, chief of the Valkyrie, is commissioned by Wotan at the instance of Fricka, goddess of marriage, to slay him for his sin. She disobeys and tries to save him, but Hunding, helped by Wotan, slays him. Sieglinda, however, about to bear the free hero, to be called Siegfried, is saved by Brunhild, and hid in the forest. Brunhild herself is punished by being made a mortal woman.
The infernal torture this is to me I cannot express. All my pleasure in my work is disappearing more and more. I had made up my mind to finish the score of the "Valkyrie" during the four months here, but that is out of the question. I shall not even finish the second act, in so terribly dispiriting a manner does this false position act upon me.
The principal source was the Volsunga Saga, while lesser parts were taken from the Elder Edda and the Younger Edda, and others from the Nibelungen Lied, the Ecklenlied, and other Teutonic folklore. In the drama there are at first only four distinct races, the gods, the giants, the dwarfs, and the nymphs. Later, by a special creation, there come the valkyrie and the heroes.
The Valkyrie, in delight over the charge to her, breaks into her jubilant war-cry, checking herself as she perceives Fricka approaching in the chariot drawn by rams, and judges from the goddess's merciless urging of the panting beasts that she comes for a Zank, a "scold," with her husband.
Consider the scenery of the two operas: First Act of the Valkyrie, Hunding's hut with the smouldering fire; Second, a rocky defile in the mountains and no particular weather; Third, storm round the Valkyries' rock, black flying clouds, the pines tossing their branches to the tempest, and, at the end, a peaceful evening sky and then the yellow flames shooting up against it.
The music is supremely noble and touching, with just a hint here and there of over-facility: I mean chiefly that the vocal phrases are not tense and full of character as are those in the Valkyrie: they seem to have been put in to fit the orchestral web.
He mistook it for the ceaseless voice of the guns and weaved it into his brooding as Wagner wove the Valkyrie theme into the score of the Nibelüngen. A faint breeze whispered through the tree-tops. Paul came to the foot of the slope; and below him ran a continuous gully roofed over by stunted trees and conforming to the hillside as a brim conforms to a hat.
The <i>Valkyrie</i> was swift enough, but with all sailing boats there is the same uncertainty. Her cargo was coal, furniture, pottery, woolen clothing, and a load of corn. As usual, the crew was small, five Danes doing the whole of the work. "How long will the voyage last?" asked my uncle.
There is none of the logic in his work that we find in the works of the tip-top men, none of the perfect finish; but, on the contrary, a very considerable degree of looseness, if not of actual incoherence, and many marks of the tool and a good deal of the scaffolding. But, in spite of it all, the greatness of many of his movements seems to me indisputable. In a notice of "The Valkyrie," Mr.
This is not to be hypercritical: it is to compare, as one must, a great achievement with an achievement in all respects very much, immeasurably, greater. Had we only the Rhinegold, with all its plentiful lack of inspiration and its theatricality, it would rank very high; but Wagner himself in the Valkyrie set the standard by which inevitably it must be judged.
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