The Rhinegold The Valkyrie The Ring Of The Niblung Part 1

The Rhinegold and the Valkyrie by Richard Wagner with illustrations by Arthur Rackham, translated by Margaret Armour, 1910. The Ring of the Niblung Volume 1. This edition is a paperback republishing of The Rhinegold and the Valkyrie by Richard Wagner first published in 1910, illustrated in color. Der Ring des Nibelungen (The Ring of the Nibelung), is a cycle of four German-language epic music dramas composed by Richard Wagner. The works are based loosely on characters from the Norse sagas and the Nibelungenlied. It is often referred to as the Ring Cycle, Wagner's Ring, or simply The Ring. Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four parts that constitute the Ring cycle are, in sequence: Das Rheingold (The Rhinegold) Die Walkure (The Valkyrie) Siegfried Gotterdammerung (Twilight of the Gods)

"The Rhinegold & The Valkyrie (The Ring of the Niblung)" by Richard Wagner is a timeless classic in the world of opera and literature. Wagner's masterpiece, part of the epic Ring Cycle, tells a mythic tale of gods, heroes, and the power of a magical ring. Through the medium of opera, Wagner weaves a complex narrative filled with drama, love, and intrigue. This work is not only a musical masterpiece but also a profound exploration of human desires and the consequences of power. It remains a must-read for lovers of opera and epic storytelling.

Richard Wagner (born April 10, 1952) is a Romanian-born German novelist. He has published a number of short stories, novels and essays.

A superb new translation of one of the greatest nineteenth century poems: the libretto to Wagner's Ring cycle The scale and grandeur of Wagner's The Ring of the Nibelung has no precedent and no successor. It preoccupied Wagner for much of his adult life and revolutionized the nature of opera, the orchestra, the demands on singers and on the audience itself. The four operas-The Rhinegold, The Valkyrie, Siegfried and Twilight of the Gods - are complete worlds, conjuring up extraordinary mythological landscapes through sound as much as staging. Wagner wrote the entire libretto before embarking on the music. Discarding the grand choruses and bravura duets central to most operas, he used the largest musical forces in the context often of only a handful of singers on stage. The words were essential: he was telling a story and making an argument in a way that required absolute attention to what was said. The libretto for The Ring lies at the heart of nineteenth century culture. It is in itself a work of power and grandeur and it had an incalculable effect on European and specifically German culture. John Deathridge's superb new translation, with notes and a fascinating introduction, is essential for anyone who wishes to get to grips with one of the great musical experiences.

A greenish twilight, lighter above than below. The upper part is filled with undulating water, which streams respectively from right to left. Towards the bottom the waves resolve themselves into a mist which grows finer as it descends, so that a space, as high as a mans body from the ground, appears to be quite free from the water, which floats like a train of clouds over the gloomy stretch below. Steep rocky peaks jut up everywhere from the depths, and enclose the entire stage. The ground is a wild confusion of jagged rocks, no part of it being quite level, and on every side deeper fisures are indicated by a still denser gloom. Woglinde circles with graceful swimming movements round the central rock.