File:Richard Wagner - his life and works (1892) (14760698531).jpg

Identifier: richardwagnerhis02jull (find matches)
Title: Richard Wagner : his life and works
Year: 1892 (1890s)
Authors: Jullien, Adolphe, 1845-1932 Hall, Florence Percival, tr
Subjects: Wagner, Richard, 1813-1883
Publisher: Boston : J.B. Millet
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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episodeof the combat between Hunding and Siegfried is treated witha masterly hand, and finishes the act infinitely better thanit is begun. The third act is a masterpiece. After the wild and sub-lime scene of the Walkiires gathering at their rendezvous,piercing the air with their war cries, and dominating thevery tempest, one anxiously follows the touching dialoguebetween the penitent Brunhilda and her implacable father.One is deeply impressed with the sublime and tender fare-well of the father to his daughter in this fantastic scene ofthe sea of fire which leaps and surges round about thesleeping goddess. The entire opera is distinguished fromthe Rheingold by a bolder style, a loftier and freer inspira-tion. The first act of Siegfried was one of the great successesof the Trilogy. It is all life and movement; the sombremonologue of Mime, the joyous entrance of Siegfried, thespirited and thrilling scene where the young hero forgeshis sword with an intense ardor and wild gaiety, carried
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GOTTERDAMMERUNG.FRIED AND TI- (INEDAUC S. — ACT III. RICHARD WAGNER 297 off in a general success the somewhat tiresome dialoguesbetween Mime and Wotan in the guise of a traveller. In the second act also, each episode which seems a trifleslow, is followed by one so delicious, so captivating, thatthe tiresome moments are quite forgotten. For example,after Alberichs meeting with his old enemy Wotan, comesthe beautiful passage where Siegfried listens to the voicesof the forest, and tries to imitate the songs of the birds,with a reed. The noisy scene where Siegfried kills the 1) Oboe Eiotriflskde hat Niemandzu den ausseren und innerenRaumen des Theaters Zutritt 2) Das Raurben ist auch in den aus-seren Eaumen des Theaters aufdas Strengste untersagt 3) DerBegumjedesActeswirddnrcDeh Trompeten-SignaJ bekannt ge-geben. nach welchem die Plitzesofort eummenmen siii 4) Dir bocliierehrleu Damn siad antdasFrcBDdlirhstc;rebel«a. Dach Ein- labae it r Silzplilzr die II Jlf $e fil-ligsl abzonehnen. 0

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