LIBRETTO RHEINGOLD PDF

DM's opera site. Composers Operas Links Forum About. The upper part of the scene is filled with moving water, which restlessly streams from right to left. Toward the bottom, the waters resolve themselves into a fine mist, so that the space, to a man's height from the stage, seems free from the water, which floats like a train of clouds over the gloomy depths. Everywhere are steep points of rock jutting up from the depths and enclosing the whole stage; all the ground is broken up into a wild confusion of jagged pieces, so that there is no level place, while on all sides darkness indicates other deeper fissures.

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DM's opera site. Composers Operas Links Forum About. The upper part of the scene is filled with moving water, which restlessly streams from right to left. Toward the bottom, the waters resolve themselves into a fine mist, so that the space, to a man's height from the stage, seems free from the water, which floats like a train of clouds over the gloomy depths. Everywhere are steep points of rock jutting up from the depths and enclosing the whole stage; all the ground is broken up into a wild confusion of jagged pieces, so that there is no level place, while on all sides darkness indicates other deeper fissures.

The curtain rises. Waters in motion. Woglinde circles with graceful swimming motions around the central rock. Woglinde Weia! Wandering waters, swing ye our cradle!

Wellgunde from above Woglinde, watchest alone? Woglinde If Wellgunde came we were two. Hier wird der Vorhang aufgezogen. Volles Wogen der Wassertiefe. Woglinde kreist in anmuthig schwimmender Bewegung um das mittlere Riff. Woge, du Welle, walle zur Wiege! Wellgunde von oben Woglinde, wach'st du allein? Wellgunde dives down to the rock. How safe is thy watch?

Woglinde eludes her by swimming Safe from thy wiles! They playfully chase one another. Flosshilde from above Heiaha weia! Wellgunde Flosshilde swim! Woglinde flies: help me to hinder her flying! Flosshilde dives down between them. Flosshilde The sleeping gold badly ye guard! Better beset the slumberer's bed, or both will pay for your sport! With merry cries they swim apart. Flosshilde tries to catch first one and then the other; they elude her and then together chase her and dart laughing and playing like fish between the rocks.

From a dark chasm Alberich climbs up one of the rocks. He remains watching the water-maidens with increasing pleasure. Wellgunde taucht aus der Fluth zum Riff herab Lass' seh'n, wie du wach'st! Woglinde entweicht ihr schwimmend Sicher vor dir! Sie necken sich, und suchen sich spielend zu fangen. Flosshilde von oben Heiaha weia! Wellgunde Flosshilde, schwimm'!

So schnellen sie gleich Fischen von Riff zu Riff, scherzend und lachend. Alberich Hehe! The maidens stop playing on hearing Alberich's voice. How ye delight me, daintiest folk!

From Nibelheim's night fain would I come, would ye turn but to me! Woglinde Hei! Wellgunde A voice in the dark. Flosshilde Look who is below! They dive deeper down and see the Nibelung. Woglinde, Wellgunde Fie! Flosshilde swimming quickly up Look to the gold! Father warned us such foe to fear. The two others follow her, and all three gather quickly around the middle rock. Alberich You, above there!

Rhine Daughters What wouldst thou below there? Alberich Spoil I your sport, if still I stand here and gaze? Dive ye but deeper, with you fain would a Nibelung dally and play. Flosshilde Lugt wer uns belauscht! Sie tauchen tiefer herab und erkennen den Nibelung.

Woglinde, Wellgunde Pfui! Vater warnte vor solchem Feind. Die beiden andern folgen ihr, und alle drei ver- sammeln sich schnell um das mittlere Riff. Alberich Ihr, da oben!

Woglinde Would he be our playmate? Wellgunde Doth he but mock? Alberich How bright and fair in the light ye shine!

Fain are my arms to enfold a maiden so fair, would she come to me here! Flosshilde I laugh at my fear: the foe is in love! Wellgunde The languishing imp! Woglinde Let us go near him! Woglinde lets herself sink to the top of the rock, the foot of which Alberich has reached. Alberich One sinks down to me. Woglinde Come close to me here! Alberich climbs with imp-like agility, but with frequent checks, to the top of the rock. Alberich hurriedly Loathsome, slimy, slippery pebbles!

I cannot stand! My hands and my feet cannot fasten or hold on the treacherous smoothness! Waterdrops fill up my nostrils He has come near Woglinde. Woglinde Mit uns will er spielen? Wellgunde Ist ihm das Spott? Flosshilde Nun lach' ich der Furcht: der Feind ist verliebt! Alberich Die neigt sich herab. Woglinde Nun nahe dich mir! Alberich klettert mit koboldartiger Behendigkeit, doch wiederholt aufgehalten, der Spitze des Riffeszu. Alberich hastig Garstig glatter glitsch'riger Glimmer!

Woglinde laughing Sneezing tells of my love's approach! Alberich My sweetheart be, thou loveliest child! He tries to embrace her. Woglinde avoiding him Me wouldst thou woo?

Alberich scratches his head. Woglinde has reached another rock. Alberich Alas! Come but nearer! Thou canst fly where I scarcely can creep.

Woglinde swims to a third rock, deeper down. Woglinde Climb to the ground, then safe wouldst thou clasp me. Alberich clambers hastily down 'Tis better down lower!

Woglinde Now let us go higher! Woglinde lachend Pruhstend naht meines Freiers Pracht! Er sucht sie zu umfassen. Woglinde sich ihm entwindend Willst du mich frei'n, so freie mich hier! Alberich kratzt sich den Kopf.

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The sun lights up the gold which they are supposed to be guarding. Unwisely, they let Alberich know that a ring forged from the gold will give its maker power to rule the world, the only condition being that he must forswear love. The frustrated Alberich is easily able to fulfil what they regard as an impossible condition; he seizes the gold, pronounces a curse on love and disappears, leaving the Rhinemaidens bewailing their loss. Scene 2: An open space on the mountain tops Wotan is admiring his new castle, Valhalla, built for the gods by the giant brothers Fasolt and Fafner, but his wife Fricka is concerned about the price he has promised them - the goddess Freia, who runs in, pursued by the giants, claiming her as their reward. Wotan laughs at them, saying that he never had any intention of handing her over; but the terms of the agreement have been inscribed on the shaft of his spear, the symbol of his power, and Fasolt warns him that his power will be undermined if he fails to abide by his own treaty.

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Synopsis: Das Rheingold

The Rhinemaidens, guardians of the Rhinegold, swim in the waters, teasing the Nibelung Alberich and revealing the secret of the gold that he who forges a ring from it will rule the world, but the one who forges the ring must abjure love. Alberich seizes the gold and makes off. Wotan and Fricka awake from their sleep and see the new castle completed: now its builders Fasolt and Fafner must be rewarded with Fricka's sister, Freia, who seeks escape from the bargain. Her brothers Donner and Froh try to protect her, but the two giants insist on their reward, Fasolt hoping thus to deprive the gods of youth, imparted by the apples that Freia has in her possession.

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It was performed, as a single opera, at the National Theatre Munich on 22 September , and received its first performance as part of the Ring cycle at the Bayreuth Festspielhaus , on 13 August Wagner wrote the Ring librettos in reverse order, so that Das Rheingold was the last of the texts to be written; it was, however, the first to be set to music. The score was completed in , but Wagner was unwilling to sanction its performance until the whole cycle was complete; he worked intermittently on this music until Following its Bayreuth premiere, the Ring cycle was introduced into the worldwide repertory, with performances in all the main opera houses, in which it has remained a regular and popular fixture. In his essay Opera and Drama , Wagner had set out new principles as to how music dramas should be constructed, under which the conventional forms of opera arias, ensembles, choruses were rejected. Rather than providing word-settings, the music would interpret the text emotionally, reflecting the feelings and moods behind the work, by using a system of recurring leitmotifs to represent people, ideas and situations.

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