The Ring of the Nibelung is the largest.
The Ring of the Nibelung is the largest.
Peter Bassett
That was Loge’s account.
That was Loge’s account.
Peter Bassett
There are numerous Beethovenian touches.
There are numerous Beethovenian touches.
Peter Bassett
R. Wagner: Das Rheingold, Scene 2
This has its roots…
This has its roots…
Peter Bassett
It is often said.
It is often said.
Peter Bassett
Let’s consider one example in Das Rheingold.
Let’s consider one example in Das Rheingold.
Peter Bassett
The second reason.
The second reason.
Peter Bassett
As a young radical, he argued.
As a young radical, he argued.
Peter Bassett
A gently undulating theme appears.
A gently undulating theme appears.
Peter Bassett
Woglinde’s melody is a lullaby.
Woglinde’s melody is a lullaby.
Peter Bassett
Wotan, like many leaders.
Wotan, like many leaders.
Peter Bassett
R. Wagner: Das Rheingold, Scene 2
But all is not sweetness.
But all is not sweetness.
Peter Bassett
When Loge first appears.
When Loge first appears.
Peter Bassett
R. Wagner: Das Rheingold, Scene 3
Loge enjoys one special advantage.
Loge enjoys one special advantage.
Peter Bassett
"Was sinnt nun Wotan so wild?"
Determined to obtain the ring.
Determined to obtain the ring.
Peter Bassett
R. Wagner: Das Rheingold, Scene 2
What happens next is a black comedy.
What happens next is a black comedy.
Peter Bassett
Wagner puts many chilling passages.
Wagner puts many chilling passages.
Peter Bassett
Wagner’s orchestration is nowhere more varied.
Wagner’s orchestration is nowhere more varied.
Peter Bassett
The refrain recurs each time.
The refrain recurs each time.
Peter Bassett
R. Wagner: Das Rheingold, Scene 3
The myths and legends of the north.
The myths and legends of the north.
Peter Bassett
As with the Ring, the subjects of Greek tragedy.
As with the Ring, the subjects of Greek tragedy.
Peter Bassett
Then, in one of the most vitriolic passages.
Then, in one of the most vitriolic passages.
Peter Bassett
With the return of Freia.
With the return of Freia.
Peter Bassett
in a great symphonic climax.
in a great symphonic climax.
Peter Bassett
"Rheingold! Rheingold! Reines Gold!"
Hetty Plümacher, George London, Oda Balsborg, Set Svanholm, Ira Malaniuk
In the Ring’s preliminary evening.
In the Ring’s preliminary evening.
Peter Bassett
In the first Act of The Valkyrie, a solitary cello.
In the first Act of The Valkyrie, a solitary cello.
Peter Bassett
Under this spell.
Under this spell.
Peter Bassett
The hut in which Siegmund has sought refuge.
The hut in which Siegmund has sought refuge.
Peter Bassett
R. Wagner: Die Walküre, Act I
Hunding retires for the evening.
Hunding retires for the evening.
Peter Bassett
For the first time, in the moonlight.
For the first time, in the moonlight.
Peter Bassett
The first Act of The Valkyrie is unsurpassed.
The first Act of The Valkyrie is unsurpassed.
Peter Bassett
"Siegmund, den Wälsung, siehst du, Weib!"
Georg Solti, Régine Crespin, Vienna Philharmonic, James King
There is a striking contrast between.
There is a striking contrast between.
Peter Bassett
If the music of Act I of The Valkyrie.
If the music of Act I of The Valkyrie.
Peter Bassett
in his earliest drafts for Siegfried’s Death.
in his earliest drafts for Siegfried’s Death.
Peter Bassett
R. Wagner: Die Walküre, Act II
Needless to say, Brünnhilde, on her return.
Needless to say, Brünnhilde, on her return.
Peter Bassett
The baying of Hunding’s dogs is heard.
The baying of Hunding’s dogs is heard.
Peter Bassett
Wagner the magician begins casting his spells.
Wagner the magician begins casting his spells.
Peter Bassett
Sieglinde, in her delirium.
Sieglinde, in her delirium.
Peter Bassett
R. Wagner: Die Walküre, Act II
The Ride of the Valkyries that opens Act III.
The Ride of the Valkyries that opens Act III.
Peter Bassett
in his adult life, Wagner came to revere J.S. Bach.
in his adult life, Wagner came to revere J.S. Bach.
Peter Bassett
R. Wagner: Die Walküre, Act III
"Der dich zwingt, wird dir's entziehn!"
Vera Schlosser, Hans Hotter, Georg Solti, Helen Watts, Brigitte Fassbaender, Helga Dernesch, Vera Little, Vienna Philharmonic, Marilyn Tyler, Claudia Hellmann, Berit Lindholm
But we are getting ahead.
But we are getting ahead.
Peter Bassett
Heard in isolation, Sieglinde’s music.
Heard in isolation, Sieglinde’s music.
Peter Bassett
R. Wagner: Die Walküre, Act III
Sieglinde has left the scene.
Sieglinde has left the scene.
Peter Bassett
After her initial shock.
After her initial shock.
Peter Bassett
He kisses her gently on the eyelids.
He kisses her gently on the eyelids.
Peter Bassett
Ungrateful adolescents.
Ungrateful adolescents.
Peter Bassett
Before the curtain rises.
Before the curtain rises.
Peter Bassett
When the curtain rises.
When the curtain rises.
Peter Bassett
On this second day of the Ring.
On this second day of the Ring.
Peter Bassett
Spoken Word
Acts I and II of Siegfried.
Peter Bassett
"Aber wie sah meine Mutter wohl aus?" (Waldweben)
Throughout this marvellous work.
Throughout this marvellous work.
Peter Bassett
It’s not easy to convey.
It’s not easy to convey.
Peter Bassett
Despite Mime’s efforts.
Despite Mime’s efforts.
Peter Bassett
R. Wagner: Siegfried, Act I
Mime is now faced with a dilemma.
Mime is now faced with a dilemma.
Peter Bassett
The orchestral richness of Siegfried.
The orchestral richness of Siegfried.
Peter Bassett
R. Wagner: Siegfried, Act I
"Glühender Schauer schüttelt die Glieder"
Mime then tells Siegfried about Fafner.
Mime then tells Siegfried about Fafner.
Peter Bassett
The curtain rises on Alberich.
The curtain rises on Alberich.
Peter Bassett
Siegfried muses on what his father.
Siegfried muses on what his father.
Peter Bassett
In myths and folk legends.
In myths and folk legends.
Peter Bassett
Wagner handles the scene.
Wagner handles the scene.
Peter Bassett
Siegfried reappears from the cave.
Siegfried reappears from the cave.
Peter Bassett
Mime then imagines himself.
Mime then imagines himself.
Peter Bassett
in June 1857 Wagner abandoned.
in June 1857 Wagner abandoned.
Peter Bassett
We are a long way.
We are a long way.
Peter Bassett
Erda descends again.
Erda descends again.
Peter Bassett
When Siegfried reaches the summit.
When Siegfried reaches the summit.
Peter Bassett
The music that Wagner introduces.
The music that Wagner introduces.
Peter Bassett
From this point until the end of the act.
From this point until the end of the act.
Peter Bassett
"Wie des Blutes Ströme sich zünden"
Götterdämmerung (‘Twilight of the Gods’).
Götterdämmerung (‘Twilight of the Gods’).
Peter Bassett
One of the marvels.
One of the marvels.
Peter Bassett
To modern sensibilities.
To modern sensibilities.
Peter Bassett
"O heilige Götter! Hehre Geschlechter!"
Siegfried disappears from view.
Siegfried disappears from view.
Peter Bassett
Towards the end of Siegfried's Rhine journey.
Towards the end of Siegfried's Rhine journey.
Peter Bassett
R. Wagner: Götterdämmerung, Act I
Gutrune’s music is heart-rending.
Gutrune’s music is heart-rending.
Peter Bassett
R. Wagner: Götterdämmerung, Act I
Then there is Hagen.
Then there is Hagen.
Peter Bassett
R. Wagner: Götterdämmerung, Act I
Gunther lacks self-confidence.
Gunther lacks self-confidence.
Peter Bassett
Hagen seems to be remarkably.
Hagen seems to be remarkably.
Peter Bassett
R. Wagner: Götterdämmerung, Act I
Hagen hails him from the shore.
Hagen hails him from the shore.
Peter Bassett
Siegfried greets Gunther.
Siegfried greets Gunther.
Peter Bassett
The potion does its obliterating work.
The potion does its obliterating work.
Peter Bassett
"Blühenden Lebens labendes Blut"
Hagen cuts the horn in two.
Hagen cuts the horn in two.
Peter Bassett
While Brünnhilde, on her mountain t, Op.
While Brünnhilde, on her mountain t, Op.
Peter Bassett
Brünnhilde can’t believe.
Brünnhilde can’t believe.
Peter Bassett
There is something Shakespearian.
There is something Shakespearian.
Peter Bassett
Siegfried appears suddenly.
Siegfried appears suddenly.
Peter Bassett
R. Wagner: Götterdämmerung, Act II
"Schlugen wir Tiere, was schaffen wir dann?"
When the excitement has died down.
When the excitement has died down.
Peter Bassett
Brünnhilde concludes bitterly.
Brünnhilde concludes bitterly.
Peter Bassett
R. Wagner: Götterdämmerung, Act II
"Wo Scharfes mich schneidet, schneide du mich"
Baffled by these developments.
Baffled by these developments.
Peter Bassett
It’s difficult to imagine.
It’s difficult to imagine.
Peter Bassett
"Muss sein Tod sie betrüben, verhehlt sei ihr die Tat"
Act II has taken the drama.
Act II has taken the drama.
Peter Bassett
Before the curtain rises on the final act.
Before the curtain rises on the final act.
Peter Bassett
Siegfried has been hunting.
Siegfried has been hunting.
Peter Bassett
When they have gone.
When they have gone.
Peter Bassett
"In Leid zu dem Wipfel lauscht' ich hinauf"
He had loosened her helm.
He had loosened her helm.
Peter Bassett
Night has fallen.
Night has fallen.
Peter Bassett
Then Brünnhilde steps forward.
Then Brünnhilde steps forward.
Peter Bassett
In 1871, when Wagner was working.
In 1871, when Wagner was working.
Peter Bassett