Ungrateful adolescents.

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