Let's consider one example in Das Rheingold.

1 Woglinde's melody is a lullaby.
2 The second reason.
3 What happens next is a black comedy.
4 The hut in which Siegmund has sought refuge.
5 Under this spell.
6 With the return of Freia.
7 Then, in one of the most vitriolic passages.
8 The myths and legends of the north.
9 The refrain recurs each time.
10 Wagner's orchestration is nowhere more varied.
11 Wagner puts many chilling passages.
12 Siegfried greets Gunther.
13 Then there is Hagen.
14 Towards the end of Siegfried's Rhine journey.
15 Siegfried disappears from view.
16 To modern sensibilities.
17 The music that Wagner introduces.
18 When Siegfried reaches the summit.
19 The potion does its obliterating work.
20 Then Brünnhilde steps forward.
21 When they have gone.
22 Siegfried has been hunting.
23 When the excitement has died down.
24 There is something Shakespearian.
25 Die Walküre, Act III: "Der dich zwingt, wird dir's entziehn!"
26 Das Rheingold, Scene 2: "Nacht und Nebel, niemand gleich!"
27 Die Walküre, Act I: "Kühlende Labung gab mir der Quell"
28 Die Walküre, Act I: "Siegmund, den Wälsung, siehst du, Weib!"
29 Götterdämmerung, Act II: "Wo Scharfes mich schneidet, schneide du mich"
30 Hagen cuts the horn in two.
31 Erda descends again.
32 From this point until the end of the act.
33 Götterdämmerung ('Twilight of the Gods').
34 One of the marvels.
35 Gutrune's music is heart-rending.
36 Gunther lacks self-confidence.
37 Hagen seems to be remarkably.
38 Hagen hails him from the shore.
39 in a great symphonic climax.
40 As with the Ring, the subjects of Greek tragedy.
41 In the Ring's preliminary evening.
42 In the first Act of The Valkyrie, a solitary cello.
43 Hunding retires for the evening.
44 For the first time, in the moonlight.
45 Determined to obtain the ring.
46 Die Walküre, Act I: "Du bist der Lenz"
47 Götterdämmerung, Act I: "Was leckt so wütend"
48 Siegfried, Act III: "Ewig war ich"
49 Die Walküre, Act II: "Siegmund! Sieh auf mich!"
50 Siegfried, Act II: "Wohin schleichst du"
51 Götterdämmerung, Act III: "In Leid zu dem Wipfel lauscht' ich hinauf"
52 Das Rheingold, Scene 4: "Bin ich nun frei?"
53 Die Walküre, Act III: "Hier bin ich, Vater"
54 Götterdämmerung, Act I: "Brünnhilde, bring' ich dir!"
55 Siegfried, Act II: "Aber wie sah meine Mutter wohl aus?" (Waldweben)
56 Götterdämmerung, Act II: "Muss sein Tod sie betrüben, verhehlt sei ihr die Tat"
57 Götterdämmerung, Act I: "Blühenden Lebens labendes Blut"
58 Götterdämmerung / Prologue: "O heilige Götter! Hehre Geschlechter!"
59 Siegfried, Act III: "Wie des Blutes Ströme sich zünden"
60 Siegfried, Act I: "Glühender Schauer schüttelt die Glieder"
61 Siegfried, Act I: "Nun tobst du wieder wie toll"
62 Siegfried, Act I: "Mein Vater bist du nicht"
63 Siegfried, Act I: "Verfluchtes Licht"
64 Das Rheingold, Scene 1: Vorspiel - "Weia! Waga! Woge, du Welle!"
65 Das Rheingold, Zweite Sz. . ene: Was sinnt nun Wotan so wild?
66 Das Rheingold, Scene 4: "Willig glaub' ich dem Wunder"
67 Götterdämmerung, Act I: "Ein gemächlicher Schlag"
68 Die Walküre, Act III: "Den hehrsten Helden der Welt"
69 Götterdämmerung, Act II: "Schlugen wir Tiere, was schaffen wir dann?"
70 Wotan, like many leaders.
71 When Loge first appears.
72 The first Act of The Valkyrie is unsurpassed.
73 There is a striking contrast between.
74 We are a long way.
75 The orchestral richness of Siegfried.
76 Throughout this marvellous work.
77 The curtain rises on Alberich.
78 Siegfried muses on what his father.
79 Wagner handles the scene.
80 Siegfried reappears from the cave.
81 When the curtain rises.
82 Ungrateful adolescents.
83 The baying of Hunding's dogs is heard.
84 Wagner the magician begins casting his spells.
85 Sieglinde, in her delirium.
86 The Ride of the Valkyries that opens Act III.
87 Sieglinde has left the scene.
88 Brünnhilde can't believe.
89 Siegfried appears suddenly.
90 Brünnhilde concludes bitterly.
91 Baffled by these developments.
92 It's difficult to imagine.
93 Act II has taken the drama.
94 Before the curtain rises on the final act.
95 He had loosened her helm.
96 Night has fallen.
97 In 1871, when Wagner was working.
98 As a young radical, he argued.
99 A gently undulating theme appears.
100 But all is not sweetness.
101 Loge enjoys one special advantage.
102 On this second day of the Ring.
103 Acts I and II of Siegfried.
104 It's not easy to convey.
105 Despite Mime's efforts.
106 Mime is now faced with a dilemma.
107 If the music of Act I of The Valkyrie.
108 Mime then tells Siegfried about Fafner.
109 In myths and folk legends.
110 Mime then imagines himself.
111 in June 1857 Wagner abandoned.
112 Before the curtain rises.
113 in his earliest drafts for Siegfried's Death.
114 Needless to say, Brünnhilde, on her return.
115 But we are getting ahead.
116 Heard in isolation, Sieglinde's music.
117 After her initial shock.
118 He kisses her gently on the eyelids.
119 in his adult life, Wagner came to revere J.S. Bach.
120 Siegfried, Act III: "Dir Unweisen ruf' ich ins Ohr"
121 Die Walküre, Act II: "Doch Brünnhilde! Weh der Verbrecherin!"
122 Die Walküre, Act III: "Der Augen leuchtendes Paar"
123 The Ring of the Nibelung is the largest.
124 Das Rheingold, Scene 2: "So weit Leben und Luft"
125 That was Loge's account.
126 There are numerous Beethovenian touches.
127 Das Rheingold / Scene 2: Absteig nach Nibelheim (Descent into Nibelheim) - Edit
128 This has its roots…
129 Symphony No. 9 in D Minor, Op. 125 "Choral": II. Molto vivace - Edit
130 It is often said.
131 Let's consider one example in Das Rheingold.
132 Götterdämmerung / Prologue: Einleitung
133 Das Rheingold, Scene 2: "Höhnst du uns? Ha, wie unrecht!"
134 Das Rheingold, Scene 1: Orchesterzwischenspiel
135 Das Rheingold, Scene 2: Valhalla Motive
136 Das Rheingold, Scene 3: Loge's Motive
137 Das Rheingold, Scene 3: Tarnhelm Motive
138 Die Walküre / Dritter Aufzug: Magic Fire Music - Edit
139 Siegfried / Erster Aufzug: Vorspiel - Edit