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2018–19 Premier League
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Premier League
Season
2018–19
Dates
10 August 2018 – 12 May 2019
Matches played
30
Goals scored
89 (2.97 per match)
Top goalscorer
Sergio Agüero
Sadio Mané
Aleksandar Mitrović
Lucas Moura
Roberto Pereyra
Richarlison
(3 goals each)
Biggest home win
Manchester City 6–1 Huddersfield Town
(19 August 2018)
Biggest away win
Huddersfield Town 0–3 Chelsea
(11 August 2018)
Manchester United 0–3 Tottenham Hotspur
(27 August 2018)
Highest scoring
Manchester City 6–1 Huddersfield Town
(19 August 2018)
Longest winning run
3 matches[1]
Chelsea
Liverpool
Watford
Tottenham Hotspur
Longest unbeaten run
3 matches[1]
Bournemouth
Chelsea
Everton
Liverpool
Manchester City
Watford
Tottenham Hotspur
Longest winless run
3 matches[1]
Burnley
Cardiff City
Huddersfield Town
Newcastle United
Southampton
West Ham United
Wolverhampton Wanderers
Longest losing run
3 matches[1]
West Ham United
Highest attendance
74,439
Manchester United 2–1 Leicester City
(10 August 2018)[1]
Lowest attendance
10,353
Bournemouth 2–0 Cardiff City
(11 August 2018)[1]
Total attendance
1,142,804[1]
Average attendance
38,094[1]
← 2017–18
2019–20 →
All statistics correct as of 27 August 2018.
The 2018–19 Premier League is the 27th season of the Premier League, the top English professional league for association football clubs, since its establishment in 1992. The season started on 10 August 2018 and is scheduled to finish on 12 May 2019.[2][3] Fixtures for the 2018–19 season were announced on 14 June 2018.[4]
Manchester City are the defending champions. Wolverhampton Wanderers, Cardiff City and Fulham joined as the promoted clubs from the 2017–18 EFL Championship. They replaced West Bromwich Albion, Swansea City and Stoke City who were relegated to the 2018–19 EFL Championship.
Contents
1 Teams
1.1 Stadiums and locations
1.2 Personnel and kits
1.3 Managerial changes
2 League table
3 Results
4 Season statistics
4.1 Scoring
4.1.1 Top scorers
4.1.2 Hat-tricks
4.1.3 Top assists
4.2 Clean sheets
4.3 Discipline
4.3.1 Player
4.3.2 Club
5 References
6 External links
Teams[edit]
London
Bournemouth
Brighton &
Hove Albion
Burnley
Cardiff City
Everton
Huddersfield Town
Leicester City
Liverpool
Manchester City
Manchester United
Newcastle United
Southampton
Watford
Wolverhampton Wanderers
London teams
Arsenal
Chelsea
Crystal Palace
Fulham
Tottenham Hotspur
West Ham United
Locations of the 2018–19 Premier League teams
Arsenal
Chelsea
Crystal Palace
Fulham
Tottenham
Hotspur
(Wembley)
Tottenham
Hotspur
(Tottenham)
West Ham United
Greater London Premier League football clubs
Twenty teams compete in the league – the top seventeen teams from the previous season, and three teams promoted from the EFL Championship. The new teams this season are Wolverhampton Wanderers (returning to the top flight after six years), Cardiff City and Fulham (both clubs returning after a four-year absence), who replace Stoke City, West Bromwich Albion and Swansea City, ending spells in the top flight of ten, eight and seven years respectively.
Stadiums and locations[edit]
Note: Table lists in alphabetical order.
Team
Location
Stadium
Capacity[5]
Arsenal London (Holloway) Emirates Stadium 7004602600000000000♠60,260
Bournemouth Bournemouth Vitality Stadium 7004113290000000000♠11,329
Brighton & Hove Albion Brighton Amex Stadium 7004306660000000000♠30,666
Burnley Burnley Turf Moor 7004219440000000000♠21,944
Cardiff City Cardiff Cardiff City Stadium 7004333160000000000♠33,316
Chelsea London (Fulham) Stamford Bridge 7004408530000000000♠40,853
Crystal Palace London (Selhurst) Selhurst Park 7004260740000000000♠26,074
Everton Liverpool Goodison Park 7004392210000000000♠39,221
Fulham London (Fulham) Craven Cottage 7004257000000000000♠25,700
Huddersfield Town Huddersfield John Smith's Stadium 7004245000000000000♠24,500
Leicester City Leicester King Power Stadium 7004322730000000000♠32,273
Liverpool Liverpool Anfield 7004533940000000000♠53,394
Manchester City Manchester Etihad Stadium 7004550170000000000♠55,017
Manchester United Trafford[a] Old Trafford 7004748790000000000♠74,879
Newcastle United Newcastle upon Tyne St James' Park 7004523540000000000♠52,354
Southampton Southampton St Mary's Stadium 7004323840000000000♠32,384
Tottenham Hotspur London (Wembley) Wembley Stadium[b] 7004900000000000000♠90,000
London (Tottenham) Tottenham Hotspur Stadium 7004620620000000000♠62,062
Watford Watford Vicarage Road 7004204000000000000♠20,400
West Ham United London (Stratford) London Stadium 7004600000000000000♠60,000
Wolverhampton Wanderers Wolverhampton Molineux 7004320500000000000♠32,050
Jump up ^ Despite bearing the Manchester name, United along with their stadium Old Trafford are based in a neighbouring borough of Trafford.
Jump up ^ Tottenham Hotspur play their first three home games at Wembley due to the rebuilding of their own stadium.[6][7]
Personnel and kits[edit]
Team
Manager1
Captain
Kit manufacturer
Shirt sponsor (chest)
Shirt sponsor (sleeves)
Arsenal Unai Emery Laurent Koscielny Puma[8] Fly Emirates[9] Visit Rwanda[10]
Bournemouth Eddie Howe Simon Francis[11] Umbro[12] M88[13] M88[14]
Brighton & Hove Albion Chris Hughton Bruno[15] Nike[16] American Express[16] JD[17]
Burnley Sean Dyche Tom Heaton[18] Puma[19] LaBa360[20] TBD
Cardiff City Neil Warnock Sean Morrison Adidas Tourism Malaysia JD[21]
Chelsea Maurizio Sarri Gary Cahill[22] Nike[23] Yokohama Tyres[24] Hyundai[25]
Crystal Palace Roy Hodgson Jason Puncheon[26] Puma[27] ManBetX[28] Dongqiudi
Everton Marco Silva Phil Jagielka Umbro[29] SportPesa[30] Angry Birds[31]
Fulham Slaviša Jokanović Tom Cairney Adidas Dafabet ICM[32]
Huddersfield Town David Wagner Tommy Smith[33] Umbro[34] OPE Sports[35] Leisu Sports[36]
Leicester City Claude Puel Wes Morgan[37] Adidas[38] King Power[39] Bia Saigon[40]
Liverpool Jürgen Klopp Jordan Henderson[41] New Balance[42] Standard Chartered[43] Western Union[44]
Manchester City Pep Guardiola Vincent Kompany[45] Nike[46] Etihad Airways[47] Nexen Tire[48]
Manchester United José Mourinho Antonio Valencia Adidas[49] Chevrolet[50] Kohler[51]
Newcastle United Rafael Benítez Jamaal Lascelles Puma[52] Fun88[53] TBD
Southampton Mark Hughes Steven Davis Under Armour[54] Virgin Media[55] Virgin Media
Tottenham Hotspur Mauricio Pochettino Hugo Lloris[56] Nike[57] AIA[58] TBD
Watford Javi Gracia Troy Deeney[59] Adidas[60] FxPro MoPlay[61]
West Ham United Manuel Pellegrini Mark Noble[62] Umbro[63] Betway[64] Basset & Gold[65]
Wolverhampton Wanderers Nuno Espírito Santo Danny Batth Adidas[66] W88[67] CoinDeal[68]
1 According to current revision of List of current Premier League and English Football League managers.
Nike has a new match ball, the Merlin.
Managerial changes[edit]
Team
Outgoing manager
Manner of
departure
Date of vacancy
Position in table
Incoming manager
Date of appointment
Arsenal Arsène Wenger Resigned 13 May 2018[69] Pre-season Unai Emery 23 May 2018[70]
Everton Sam Allardyce Sacked 16 May 2018[71] Marco Silva 31 May 2018[72]
West Ham United David Moyes End of contract 16 May 2018[73] Manuel Pellegrini 22 May 2018[74]
Chelsea Antonio Conte Sacked 13 July 2018 Maurizio Sarri 14 July 2018
League table[edit]
Pos
Team
[
v
t
e
]
Pld
W
D
L
GF
GA
GD
Pts
Qualification or relegation
1
Liverpool 3 3 0 0 7 0 +7 9 Qualification for the Champions League group stage
2
Tottenham Hotspur 3 3 0 0 8 2 +6 9
3
Chelsea 3 3 0 0 8 3 +5 9
4
Watford 3 3 0 0 7 2 +5 9
5
Manchester City 3 2 1 0 9 2 +7 7 Qualification for the Europa League group stage
6
Bournemouth 3 2 1 0 6 3 +3 7
7
Leicester City 3 2 0 1 5 3 +2 6
8
Everton 3 1 2 0 6 5 +1 5
9
Arsenal 3 1 0 2 5 6 −1 3
10
Crystal Palace 3 1 0 2 3 4 −1 3
11
Fulham 3 1 0 2 5 7 −2 3
12
Brighton & Hove Albion 3 1 0 2 3 5 −2 3
13
Manchester United 3 1 0 2 4 7 −3 3
14
Wolverhampton Wanderers 3 0 2 1 3 5 −2 2
15
Cardiff City 3 0 2 1 0 2 −2 2
16
Newcastle United 3 0 1 2 2 4 −2 1
17
Southampton 3 0 1 2 2 4 −2 1
18
Burnley 3 0 1 2 3 7 −4 1 Relegation to the EFL Championship
19
Huddersfield Town 3 0 1 2 1 9 −8 1
20
West Ham United 3 0 0 3 2 9 −7 0
Updated to match(es) played on 27 August 2018. Source: Premier League
Rules for classification: 1) Points; 2) Goal difference; 3) Goals scored; 4) Play-offs (only if needed to decide champion, teams for relegation or teams for UEFA competitions).
Results[edit]
Home \ Away
ARS
BOU
BHA
BUR
CAR
CHE
CRY
EVE
FUL
HUD
LEI
LIV
MCI
MUN
NEW
SOU
TOT
WAT
WHU
WOL
Arsenal
— a 0–2 a a 3–1
Bournemouth
— 2–0 2–2
Brighton & Hove Albion
— a 3–2
Burnley
— 1–3
Cardiff City
— 0–0
Chelsea
3–2 — a a
Crystal Palace
a — 0–2
Everton
— a 2–1
Fulham
4–2 a 0–2 —
Huddersfield Town
0–0 0–3 —
Leicester City
— 2–0
Liverpool
1–0 2–0 a — a 4–0
Manchester City
6–1 — a
Manchester United
a 2–1 a a — 0–3
Newcastle United
1–2 — 1–2
Southampton
0–0 1–2 —
Tottenham Hotspur
a a 3–1 —
Watford
2–0 2–1 —
West Ham United
1–2 —
Wolverhampton Wanderers
2–2 1–1 —
Updated to match(es) played on 27 August 2018. Source: Premier League
Colours: Blue = home team win; Yellow = draw; Red = away team win.
For coming matches, an a indicates there is an article about the match.
Season statistics[edit]
As of 27 August 2018
Scoring[edit]
Top scorers[edit]
Rank
Player
Club
Goals[75]
1 Sergio Agüero Manchester City 3
Sadio Mané Liverpool
Aleksandar Mitrović Fulham
Lucas Moura Tottenham Hotspur
Roberto Pereyra Watford
Richarlison Everton
7 Marko Arnautović West Ham United 2
Joselu Newcastle United
Harry Kane Tottenham Hotspur
Pedro Chelsea
Paul Pogba Manchester United
Mohamed Salah Liverpool
James Tarkowski Burnley
Theo Walcott Everton
Callum Wilson Bournemouth
Wilfried Zaha Crystal Palace
Hat-tricks[edit]
Main article: List of Premier League hat-tricks
Player
For
Against
Result
Date
Ref
Sergio Agüero Manchester City Huddersfield Town 6–1 (H) 19 August 2018 [76]
Top assists[edit]
Rank
Player
Club
Assists[77]
1 Benjamin Mendy Manchester City 3
2 Roberto Firmino Liverpool 2
Eden Hazard Chelsea
José Holebas Watford
Cenk Tosun Everton
Luciano Vietto Fulham
7 48 players 1
Clean sheets[edit]
Rank
Player
Club
Clean
sheets[78]
1 Alisson Liverpool 3
2 Neil Etheridge Cardiff City 2
3 Kepa Arrizabalaga Chelsea 1
Asmir Begović Bournemouth
Martin Dúbravka Newcastle United
Ben Foster Watford
Joe Hart Burnley
Wayne Hennessey Crystal Palace
Hugo Lloris Tottenham Hotspur
Alex McCarthy Southampton
Ederson Manchester City
Kasper Schmeichel Leicester City
Discipline[edit]
Player[edit]
Most yellow cards: 3[79]
Trent Alexander-Arnold (Liverpool)
Most red cards: 1[80]
Phil Jagielka (Everton)
Isaac Hayden (Newcastle United)
Jonathan Hogg (Huddersfield Town)
Pierre-Emile Højbjerg (Southampton)
Richarlison (Everton)
Adam Smith (Bournemouth)
Jamie Vardy (Leicester City)
Aaron Wan-Bissaka (Crystal Palace)
Club[edit]
Most yellow cards: 11[81]
West Ham United
Most red cards: 2[82]
Everton
References[edit]
^ Jump up to: a b c d e f g h "English Premier League Performance Stats - 2018-19". ESPN. Retrieved 14 August 2018.
Jump up ^ "Start date for 2018–19 Premier League season announced".
Jump up ^ "Premier League fixtures for 2018/19 announced". Premier League. 14 June 2018. Retrieved 29 June 2018.
Jump up ^ "Premier League fixtures 2018–19: Man City visit Arsenal on opening weekend". BBC Sport. 14 June 2018. Retrieved 14 June 2018.
Jump up ^ "Premier League Handbook 2018/19" (PDF). Premier League. Retrieved 30 July 2018.
Jump up ^ "Tottenham: Liverpool the visitors for first game at new stadium". BBC Sport. Retrieved 14 June 2018.
Jump up ^ "Tottenham delay move to new stadium over 'safety issues'". BBC Sport. Retrieved 13 August 2018.
Jump up ^ "PUMA and Arsenal announce partnership". Arsenal FC. Retrieved 23 June 2015.
Jump up ^ "Arsenal football club in £150m Emirates deal". BBC News. 23 November 2012. Retrieved 23 June 2015.
Jump up ^ "Arsenal partner with 'Visit Rwanda'". Arsenal FC. Retrieved 23 May 2018.
Jump up ^ "Simon Francis named as AFC Bournemouth club captain for 2016/17 season". afcb.co.uk. Retrieved 28 November 2016.
Jump up ^ "#NextChapter: AFC Bournemouth and Umbro". [permanent dead link]
Jump up ^ "AFC Bournemouth unveil Mansion Group as Premier League shirt sponsor". insideworldfootball.com. Retrieved 22 June 2017.
Jump up ^ "Mansion go all-in with Bournemouth adding sleeve to shirt front sponsorship". insideworldfootball.com. 30 August 2017. Retrieved 1 September 2017.
Jump up ^ "Brighton captain Bruno willing to give Manchester City pal David Silva a pasting in season opener". Mirror. Retrieved 4 October 2017.
^ Jump up to: a b "New Kit Partnership with Nike". seagulls.co.uk. Retrieved 3 June 2014.
Jump up ^ "Albion Extend JD Partnership". Brighton & Hove Albion F.C. 11 August 2018. Retrieved 11 August 2018.
Jump up ^ "Tom Heaton – player profile". burnleyfootballclub.com. Archived from the original on 1 December 2016. Retrieved 28 November 2016.
Jump up ^ "Burnley sign new Puma kit deal". Lancashire Telegraph. Retrieved 17 May 2013.
Jump up ^ "Puma Home Kit: 2018/19". burnleyfootballclub.com. Retrieved 3 July 2018.
Jump up ^ "JD Sports announced s club's first sleeve sponsor". Cardiff City F.C. 4 August 2018. Retrieved 4 August 2018.
Jump up ^ "Captain Cahill: Delighted, proud and excited". chelseafc.com. Chelsea FC. Retrieved 26 July 2017.
Jump up ^ "Chelsea and Nike announce long-term partnership". chelseafc.com. Chelsea FC. Retrieved 13 October 2016.
Jump up ^ "Chelsea seal £200m shirt sponsorship deal with Yokohama Rubber". The Guardian. Retrieved 23 June 2015.
Jump up ^ "Chelsea and Hyundai Begin New Partnership". chelseafc.com. 11 June 2018. Retrieved 11 June 2018.
Jump up ^ "Crystal Palace chief: Why Sam Allardyce made Jason Puncheon our captain". Daily Express. Retrieved 14 May 2017.
Jump up ^ "Revealed: Crystal Palace and Puma 2018/19 Kits". Crystal Palace F.C. 9 May 2018. Retrieved 10 May 2018.
Jump up ^ "Palace Announce New Shirt Sponsor, ManBetX". Crystal Palace FC. Retrieved 26 June 2017.
Jump up ^ "Everton agree five-year deal with Umbro to supply club kits from start of next season". Daily Mail. Retrieved 23 June 2015.
Jump up ^ "Everton confirm SportPesa as new shirt sponsor". Liverpool Echo. Retrieved 15 May 2017.
Jump up ^ "Everton Sign Sleeve Deal With Games Giant Rovio Entertainment". Everton FC. Retrieved 17 September 2017.
Jump up ^ "New Sleeve Sponsor: ICM". Fulham F.C. 11 August 2018. Retrieved 11 August 2018.
Jump up ^ "Tommy Smith becomes Huddersfield Town club captain for Premier League season". Examiner. 9 August 2017. Retrieved 5 October 2017.
Jump up ^ "Town Teams Up with Umbro for 2018/19!". Huddersfield Town A.F.C. 9 May 2018. Retrieved 10 May 2018.
Jump up ^ "OPE SPORTS – New Shirt Sponsor". Huddersfield Town AFC. Retrieved 30 June 2017.
Jump up ^ "2018/19 Umbro Home Kit Revealed!". Huddersfield Town AFC. Retrieved 8 June 2018.
Jump up ^ "Leicester City captain Wes Morgan 'fit and ready' for Premier League season after hectic summer". Leicester Mercury. Archived from the original on 2015-08-10.
Jump up ^ "Leak Confirmed – Leicester City Announce Adidas Kit Deal". Footy Headlines. 17 May 2018. Retrieved 18 May 2018.
Jump up ^ "2014/15 PUMA Home Kit Now On Sale!". lcfc.com. Leicester City FC. Retrieved 23 June 2015.
Jump up ^ "Leicester City And ThaiBev Agree Multi-Year Global Partnership". Retrieved 2018-08-03.
Jump up ^ "Henderson appointed Liverpool captain". liverpoolfc.com. Liverpool FC.
Jump up ^ "Liverpool announce record-breaking £300m kit deal with New Balance from next season". Daily Mail. Retrieved 23 June 2015.
Jump up ^ "Liverpool stick with shirt sponsor Standard Chartered after penning two-year extension". Daily Mail. Retrieved 23 June 2015.
Jump up ^ "Western Union signs sponsorship deal with Liverpool football club". Financial Times. Retrieved 9 August 2017.
Jump up ^ "Manchester City captain Vincent Kompany finally concedes a goal". Mail Online.
Jump up ^ Ogden, Mark (4 May 2012). "Manchester City's six-year kit deal with Nike could earn the Premier League leaders up to £12million a year". The Daily Telegraph. London. Retrieved 23 June 2015.
Jump up ^ Taylor, Daniel (8 July 2011). "Manchester City bank record £400m sponsorship deal with Etihad Airways". The Guardian. London. Retrieved 23 June 2015.
Jump up ^ Edwards, John (17 March 2017). "Man City and Nexen Tire announce Premier League first partnership". London. Retrieved 17 May 2017.
Jump up ^ "Manchester United and Adidas in £750m deal over 10 years". BBC News. Retrieved 23 June 2015.
Jump up ^ "Manchester United's £53m shirt deal with Chevrolet unaffected despite likely absence of Champions League". telegraph.co.uk. Telegraph Media Group. Retrieved 23 June 2015.
Jump up ^ "Kohler Unveiled as Shirt Sleeve Sponsor". ManUtd.com. Manchester United F.C. 12 July 2018. Retrieved 12 July 2018.
Jump up ^ "REVEALED: Newcastle United Officially Announce 125th Anniversary Kit Featuring New Sponsor Fun88". 15 May 2017.
Jump up ^ "FUN88 becomes Newcastle United shirt sponsor". nufc.co.uk. Newcastle United FC. Retrieved 15 May 2017.
Jump up ^ "Saints announce multi-year partnership with Under Armour". saintsfc.co.uk. Retrieved 14 April 2016.
Jump up ^ "Virgin Media become Southampton's main club sponsor". saintsfc.co.uk. Retrieved 2 July 2016.
Jump up ^ "Tottenham news: Spurs 'set to name Harry Kane vice-captain' – Metro News". Metro.
Jump up ^ "TOTTENHAM HOTSPUR ANNOUNCES MULTI-YEAR PARTNERSHIP WITH NIKE". tottenhamhotspur.com. Tottenham Hotspur FC. Retrieved 30 June 2017.
Jump up ^ "AIA TO BECOME TOTTENHAM HOTSPUR'S NEW PRINCIPAL PARTNER". tottenhamhotspur.com. Tottenham Hotspur FC. Retrieved 23 June 2015.
Jump up ^ Simon Burnton. "Premier League 2015–16 preview No18: Watford". The Guardian.
Jump up ^ "Watford Announce Adidas Deal". footyheadlines.com. Retrieved 6 December 2016.
Jump up ^ "News: Watford Announce Sleeve Partnership With MoPlay". Watford F.C. 11 August 2018. Retrieved 11 August 2018.
Jump up ^ "Slaven Bilic thanks Kevin Nolan as West Ham captain leaves club – video". The Guardian. 27 August 2015.
Jump up ^ "West Ham re-united with Umbro". whufc.com. Archived from the original on 2 May 2015. Retrieved 23 June 2015.
Jump up ^ "Hammers announce Betway sponsorship". whufc.com. West Ham United F.C. Archived from the original on 26 June 2015. Retrieved 23 June 2015.
Jump up ^ "West Ham United and Basset & Gold agree new ground-breaking shirt sleeve and eSports partnership". whufc.com. West Ham United F.C. 13 July 2018. Retrieved 13 July 2018.
Jump up ^ "Wolves Unveil Partnership With Adidas". Wolverhampton Wanderers F.C. 8 May 2018. Retrieved 8 May 2018.
Jump up ^ "Wolves Announce W88 As Shirt Sponsor". wolves.co.uk. Wolverhampton Wanderers F.C. 13 June 2018. Retrieved 13 June 2018.
Jump up ^ "Wolves Unveil CoinDeal As Shirt Sleeve Sponsor". wolves.co.uk. Wolverhampton Wanderers F.C. Retrieved 4 July 2018.
Jump up ^ "Arsene Wenger: Arsenal boss to leave club at end of season". BBC Sport. Retrieved 20 April 2018.
Jump up ^ sport, Guardian (23 May 2018). "Arsenal confirm appointment of Unai Emery as club's new manager". the Guardian. Retrieved 2018-05-23.
Jump up ^ O'Hara, Aidan (14 May 2018). "Bye, bye to Big Sam Allardyce, the year the title race died". Irish Independent. Retrieved 16 May 2018.
Jump up ^ "Marco Silva: Everton appoint former Watford and Hull boss as new manager". BBC.com. 31 May 2018. Retrieved 31 May 2018.
Jump up ^ "David Moyes: West Ham manager departs after just six months in charge". BBC.com. 16 May 2018. Retrieved 16 May 2018.
Jump up ^ Steinberg, Jacob (2018-05-22). "West Ham appoint Manuel Pellegrini as manager on three-year deal". the Guardian. Retrieved 23 May 2018.
Jump up ^ "Premier League Player Stats – Goals". Premier League. Retrieved 27 August 2018.
Jump up ^ "Manchester City 6–1 Huddersfield Town". BBC Sport. 19 August 2018. Archived from the original on 19 August 2018. Retrieved 19 August 2018.
Jump up ^ "Premier League Player Stats – Assists". Premier League. Retrieved 27 August 2018.
Jump up ^ "Premier League Player Stats – Clean Sheets". Premier League. Retrieved 27 August 2018.
Jump up ^ "Premier League Player Stats – Yellow Cards". Premier League. Retrieved 25 August 2018.
Jump up ^ "Premier League Player Stats – Red Cards". Premier League. Retrieved 25 August 2018.
Jump up ^ "Premier League Club Stats – Yellow Cards". Premier League. Retrieved 25 August 2018.
Jump up ^ "Premier League Club Stats – Red Cards". Premier League. Retrieved 25 August 2018.
External links[edit]
Official website
show
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Der Ring des Nibelungen
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Der Ring des Nibelungen
Music dramas by Richard Wagner
Scene 1 of Das Rheingold from the first Bayreuth Festival production of the Bühnenfestspiel in 1876
Translation
The Ring of the Nibelung
Librettist
Richard Wagner
Language
German
Premiere
As a cycle:
13 August 1876 (1876-08-13) Das Rheingold (previously performed separately in 1869)
14 August 1876 Die Walküre (previously performed separately in 1870)
16 August 1876 Siegfried
17 August 1876 Götterdämmerung

Bayreuth Festspielhaus
Der Ring des Nibelungen (The Ring of the Nibelung), WWV 86, 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. The composer termed the cycle a "Bühnenfestspiel" (stage festival play), structured in three days preceded by a Vorabend ("preliminary evening"). 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 Walküre (The Valkyrie)
Siegfried
Götterdämmerung (Twilight of the Gods)
Although individual works of the sequence have occasionally been performed separately, Wagner intended them to be performed in series. The first performance as a cycle opened the first Bayreuth Festival in 1876, beginning with Das Rheingold on 13 August and ending with Götterdämmerung on 17 August. Opera stage director Anthony Freud stated that Der Ring des Nibelungen "marks the high-water mark of our art form, the most massive challenge any opera company can undertake."[1]
Contents
[hide]
1 Title
2 Content
3 List of characters
4 Story
5 Concept
6 Music
6.1 Leitmotifs
6.2 Instrumentation
6.3 Tonality
7 Composition of the Ring cycle
7.1 The text
7.2 The music
8 Performances
8.1 First productions
8.2 Modern productions
9 Recordings of the Ring cycle
10 Other treatments of the Ring cycle
11 Books cited
12 References and notes
13 Further reading
14 External links
Title[edit]
Wagner's title is most literally rendered in English as The Ring of the Nibelung. The Nibelung of the title is the dwarf Alberich, and the ring in question is the one he fashions from the Rhine Gold. The title therefore denotes "Alberich's Ring".[2] The "-en" suffix in "Nibelungen" can occur in a genitive singular, accusative singular, dative singular, or a plural in any case (in weak masculine German nouns), but the article "des" immediately preceding makes it clear that the genitive singular is intended here. "Nibelungen" is occasionally mistaken as a plural, but the Ring of the Nibelungs (in German Der Ring der Nibelungen) is incorrect.
Content[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2012) (Learn how and when to remove this template message)
The cycle is a work of extraordinary scale. Perhaps the most outstanding facet of the monumental work is its sheer length: a full performance of the cycle takes place over four nights at the opera, with a total playing time of about 15 hours, depending on the conductor's pacing. The first and shortest work, Das Rheingold, typically lasts two and a half hours, while the final and longest, Götterdämmerung, takes up to five hours, excluding intervals. The cycle is modelled after ancient Greek dramas that were presented as three tragedies and one satyr play. The Ring proper begins with Die Walküre and ends with Götterdämmerung, with Rheingold as a prelude. Wagner called Das Rheingold a Vorabend or "Preliminary Evening", and Die Walküre, Siegfried and Götterdämmerung were subtitled First Day, Second Day and Third Day, respectively, of the trilogy proper.
The scale and scope of the story is epic. It follows the struggles of gods, heroes, and several mythical creatures over the eponymous magic ring that grants domination over the entire world. The drama and intrigue continue through three generations of protagonists, until the final cataclysm at the end of Götterdämmerung.
The music of the cycle is thick and richly textured, and grows in complexity as the cycle proceeds. Wagner wrote for an orchestra of gargantuan proportions, including a greatly enlarged brass section with new instruments such as the Wagner tuba, bass trumpet and contrabass trombone. Remarkably, he uses a chorus only relatively briefly, in acts 2 and 3 of Götterdämmerung, and then mostly of men with just a few women. He eventually had a purpose-built theatre constructed, the Bayreuth Festspielhaus, in which to perform this work. The theatre has a special stage that blends the huge orchestra with the singers' voices, allowing them to sing at a natural volume. The result was that the singers did not have to strain themselves vocally during the long performances.
List of characters[edit]
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Gods
Mortals
Valkyries
Rhinemaidens, Giants & Nibelungs
Other characters
Wotan, King of the Gods (god of light, air, and wind) (bass-baritone)
Fricka, Wotan's wife, goddess of marriage (mezzo-soprano)
Freia, Fricka's sister, goddess of love, youth, and beauty (soprano)
Donner, Fricka's brother, god of thunder (baritone)
Froh, Fricka's brother, god of spring/happiness (tenor)
Erda, goddess of wisdom/fate/Earth (contralto)
Loge, demigod of fire (tenor)
The Norns, the weavers of fate, daughters of Erda (contralto, mezzo-soprano, soprano)
Wälsungs
Siegmund, mortal son of Wotan (tenor)
Sieglinde, his twin sister (soprano)
Siegfried, their son (tenor)
Neidings
Hunding, Sieglinde's husband, chief of the Neidings (bass)
Gibichungs
Gunther, King of the Gibichungs (baritone)
Gutrune, his sister (soprano)
Hagen, their half-brother, and Alberich's son (bass)
A male choir of Gibichung vassals and a small female choir of Gibichung women
Brünnhilde (soprano)
Waltraute (mezzo-soprano)
Helmwige (soprano)
Gerhilde (soprano)
Siegrune (mezzo-soprano)
Schwertleite (mezzo-soprano)
Ortlinde (soprano)
Grimgerde (mezzo-soprano)
Rossweisse (mezzo-soprano)
Rhinemaidens
Woglinde (soprano)
Wellgunde (soprano)
Flosshilde (mezzo-soprano)
Giants
Fasolt (bass-baritone/high bass)
Fafner, his brother, later turned into a dragon (bass)
Nibelungs
Alberich (bass-baritone)
Mime, his brother, and Siegfried's foster father (tenor)
The Voice of a Woodbird (soprano)
Story[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2017) (Learn how and when to remove this template message)
Further information: Der Ring des Nibelungen: Composition of the poem, Das Rheingold, Die Walküre, Siegfried, and Götterdämmerung
Illustration of Brünnhilde by Odilon Redon, 1885
The plot revolves around a magic ring that grants the power to rule the world, forged by the Nibelung dwarf Alberich from gold he stole from the Rhine maidens in the river Rhine. The Ring itself as described by Wagner is a Rune-magic taufr ("tine", or "talisman") intended to rule the feminine multiplicative power by a fearful magical act termed as 'denial of love' ("Liebesverzicht"). With the assistance of the god Loge, Wotan – the chief of the gods – steals the ring from Alberich, but is forced to hand it over to the giants, Fafner and Fasolt in payment for building the home of the gods, Valhalla, or they will take Freia, who provides the gods with the golden apples that keep them young. Wotan's schemes to regain the ring, spanning generations, drive much of the action in the story. His grandson, the mortal Siegfried, wins the ring by slaying Fafner (who slew Fasolt for the ring) – as Wotan intended – but is eventually betrayed and slain as a result of the intrigues of Alberich's son Hagen, who wants the ring for himself. Finally, the Valkyrie Brünnhilde – Siegfried's lover and Wotan's daughter who lost her immortality for defying her father in an attempt to save Siegfried's father Sigmund – returns the ring to the Rhine maidens as she commits suicide on Siegfried's funeral pyre. Hagen is drowned as he attempts to recover the ring. In the process, the gods and Valhalla are destroyed.
Details of the storylines can be found in the articles on each music drama.
Wagner created the story of the Ring by fusing elements from many German and Scandinavian myths and folk tales. The Old Norse Edda supplied much of the material for Das Rheingold, while Die Walküre was largely based on the Völsunga saga. Siegfried contains elements from the Eddur, the Völsunga saga and Thidrekssaga. The final Götterdämmerung, draws from the 12th-century German poem, the Nibelungenlied, which appears to have been the original inspiration for the Ring.[3]
The Ring has been the subject of myriad interpretations. For example, George Bernard Shaw, in The Perfect Wagnerite, argues for a view of The Ring as an essentially socialist critique of industrial society and its abuses. Robert Donington in Wagner's Ring And Its Symbols interprets it in terms of Jungian psychology, as an account of the development of unconscious archetypes in the mind, leading towards individuation.
Concept[edit]
In his earlier operas (up to and including Lohengrin) Wagner's style had been based, rather than on the Italian style of opera, on the German style as developed by Carl Maria von Weber, with elements of the grand opera style of Giacomo Meyerbeer. However he came to be dissatisfied with such a format as a means of artistic expression. He expressed this clearly in his essay 'A Communication to My Friends', (1851) in which he condemned the majority of modern artists, in painting and in music, as "feminine ... the world of art close fenced from Life, in which Art plays with herself.' Where however the impressions of Life produce an overwhelming 'poetic force', we find the 'masculine, the generative path of Art'.[4]
Wagner unfortunately found that his audiences were not willing to follow where he led them:
The public, by their enthusiastic reception of Rienzi and their cooler welcome of the Flying Dutchman, had plainly shown me what I must set before them if I sought to please. I completely undeceived their expectations; they left the theatre, after the first performance of Tannhäuser, [1845] in a confused and discontented mood. – The feeling of utter loneliness in which I now found myself, quite unmanned me... My Tannhäuser had appealed to a handful of intimate friends alone.[5]
Finally Wagner announces:
I shall never write an Opera more. As I have no wish to invent an arbitrary title for my works, I will call them Dramas ...
I propose to produce my myth in three complete dramas, preceded by a lengthy Prelude (Vorspiel). ...
At a specially-appointed Festival, I propose, some future time, to produce those three Dramas with their Prelude, in the course of three days and a fore-evening. The object of this production I shall consider thoroughly attained, if I and my artistic comrades, the actual performers, shall within these four evenings succeed in artistically conveying my purpose to the true Emotional (not the Critical) Understanding of spectators who shall have gathered together expressly to learn it.[6]
This is his first public announcement of the form of what would become the Ring cycle.
In accordance with the ideas expressed in his essays of the period 1849–51 (including the "Communication" but also "Opera and Drama" and "The Artwork of the Future"), the four parts of the Ring were originally conceived by Wagner to be free of the traditional operatic concepts of aria and operatic chorus. The Wagner scholar Curt von Westernhagen identified three important problems discussed in "Opera and Drama" which were particularly relevant to the Ring cycle: the problem of unifying verse stress with melody; the disjunctions caused by formal arias in dramatic structure, and the way in which opera music could be organised on a different basis of organic growth and modulation; and the function of musical motifs in linking elements of the plot whose connections might otherwise be inexplicit. This became known as the leitmotif technique (see below), although Wagner himself did not use this word.[7]
However, Wagner relaxed some aspects of his self-imposed restrictions somewhat as the work progressed. As George Bernard Shaw sardonically (and slightly unfairly)[8] noted of the last opera Götterdämmerung:
And now, O Nibelungen Spectator, pluck up; for all allegories come to an end somewhere... The rest of what you are going to see is opera, and nothing but opera. Before many bars have been played, Siegfried and the wakened Brynhild, newly become tenor and soprano, will sing a concerted cadenza; plunge on from that to a magnificent love duet...The work which follows, entitled Night Falls on the Gods [Shaw's translation of Götterdämmerung], is a thorough grand opera.[9]
Music[edit]
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Leitmotifs[edit]
As a significant element in the Ring and his subsequent works, Wagner adopted the use of leitmotifs, which are recurring themes or harmonic progressions. They musically denote an action, object, emotion, character, or other subject mentioned in the text or presented onstage. Wagner referred to them in "Opera and Drama" as "guides-to-feeling", describing how they could be used to inform the listener of a musical or dramatic subtext to the action onstage in the same way as a Greek chorus did for the theatre of ancient Greece. Although other composers before Wagner had already used similar techniques, the Ring was a landmark in the extent to which they were employed, as well as in the ingenuity of their combination and development.[citation needed]
Instrumentation[edit]
Wagner made significant innovations in orchestration in this work. He wrote for a very large orchestra, using the whole range of instruments used singly or in combination to express the great range of emotion and events of the drama. Wagner even commissioned the production of new instruments, including the Wagner tuba, invented to fill a gap he found between the tone qualities of the horn and the trombone, as well as variations of existing instruments, such as the bass trumpet and a contrabass trombone with a double slide. He also developed the "Wagner bell", enabling the bassoon to reach the low A-natural, whereas normally B-flat is the instrument's lowest note. If such a bell is not to be used, then a contrabassoon should be employed.
All four parts have a very similar instrumentation. The core ensemble of instruments are one piccolo, three flutes (third doubling second piccolo), three oboes, cor anglais (doubling fourth oboe), three soprano clarinets, one bass clarinet, three bassoons; eight horns (fifth through eight doubling wagner tubas), three trumpets, one bass trumpet, three tenor trombones, one contrabass trombone (doubling bass trombone), one contrabass tuba; a percussion section with 4 timpani (requiring two players), triangle, cymbals, glockenspiel; six harps and a string section consisting of 16 first and second violins, 12 violas, 12 violoncellos, and 8 double basses.
Das Rheingold requires one bass drum, one tam-tam, one onstage harp and 18 onstage anvils. Die Walküre requires one snare drum, tam-tam, and an on-stage steerhorn. Siegfried requires one onstage cor anglais and one onstage horn. Götterdämmerung requires five onstage horns and four onstage steerhorns, one of them to be blown by Hagen.
Tonality[edit]
Much of the Ring, especially from Siegfried act 3 onwards, cannot be said to be in traditional, clearly defined keys for long stretches, but rather in 'key regions', each of which flows smoothly into the following. This fluidity avoided the musical equivalent of clearly defined musical paragraphs, and assisted Wagner in building the work's huge structures. Tonal indeterminacy was heightened by the increased freedom with which he used dissonance and chromaticism. Chromatically altered chords are used very liberally in the Ring, and this feature, which is also prominent in Tristan und Isolde, is often cited as a milestone on the way to Arnold Schoenberg's revolutionary break with the traditional concept of key and his dissolution of consonance as the basis of an organising principle in music.
Composition of the Ring cycle[edit]
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The text[edit]
Main article: Der Ring des Nibelungen: Composition of the poem
In summer 1848 Wagner wrote The Nibelung Myth as Sketch for a Drama, combining the medieval sources previously mentioned into a single narrative, very similar to the plot of the eventual Ring cycle, but nevertheless with substantial differences. Later that year he began writing a libretto entitled Siegfrieds Tod ("Siegfried's Death"). He was possibly stimulated by a series of articles in the Neue Zeitschrift für Musik, inviting composers to write a 'national opera' based on the Nibelungenlied, a 12th-century High German poem which, since its rediscovery in 1755, had been hailed by the German Romantics as the "German national epic". Siegfrieds Tod dealt with the death of Siegfried, the central heroic figure of the Nibelungenlied. The idea had occurred to others – the correspondence of Fanny and Felix Mendelssohn in 1840/41 reveals that they were both outlining scenarios on the subject: Fanny wrote 'The hunt with Siegfried's death provides a splendid finale to the second act'.[10]
By 1850, Wagner had completed a musical sketch (which he abandoned) for Siegfrieds Tod.[citation needed] He now felt that he needed a preliminary opera, Der junge Siegfried ("The Young Siegfried", later renamed to "Siegfried"), to explain the events in Siegfrieds Tod, and his verse draft of this was completed in May 1851.[citation needed] By October, he had made the momentous decision to embark on a cycle of four operas, to be played over four nights: Das Rheingold, Die Walküre, Der Junge Siegfried and Siegfrieds Tod; the text for all four parts was completed in December 1852, and privately published in February 1853.[citation needed]
The music[edit]
Main article: Der Ring des Nibelungen: Composition of the music
In November 1853, Wagner began the composition draft of Das Rheingold. Unlike the verses, which were written as it were in reverse order, the music would be composed in the same order as the narrative. Composition proceeded until 1857, when the final score up to the end of act 2 of Siegfried was completed. Wagner then laid the work aside for twelve years, during which he wrote Tristan und Isolde and Die Meistersinger von Nürnberg.
By 1869, Wagner was living at Tribschen on Lake Lucerne, sponsored by King Ludwig II of Bavaria. He returned to Siegfried, and, remarkably, was able to pick up where he left off. In October, he completed the final work in the cycle. He chose the title Götterdämmerung instead of Siegfrieds Tod. In the completed work the gods are destroyed in accordance with the new pessimistic thrust of the cycle, not redeemed as in the more optimistic originally planned ending. Wagner also decided to show onstage the events of Das Rheingold and Die Walküre, which had hitherto only been presented as back-narration in the other two parts. These changes resulted in some discrepancies in the cycle, but these do not diminish the value of the work.
Performances[edit]
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First productions[edit]
Amalie Materna, the first Bayreuth Brünnhilde, with Cocotte, the horse donated by King Ludwig to play her horse Grane
On King Ludwig's insistence, and over Wagner's objections, "special previews" of Das Rheingold and Die Walküre were given at the National Theatre in Munich, before the rest of the Ring. Thus, Das Rheingold premiered on 22 September 1869, and Die Walküre on 26 June 1870. Wagner subsequently delayed announcing his completion of Siegfried to prevent this work also being premiered against his wishes.
Wagner had long desired to have a special festival opera house, designed by himself, for the performance of the Ring. In 1871, he decided on a location in the Bavarian town of Bayreuth. In 1872, he moved to Bayreuth, and the foundation stone was laid. Wagner would spend the next two years attempting to raise capital for the construction, with scant success; King Ludwig finally rescued the project in 1874 by donating the needed funds. The Bayreuth Festspielhaus opened in 1876 with the first complete performance of the Ring, which took place from 13 to 17 August.
In 1882, London impresario Alfred Schulz-Curtius organized the first staging in the United Kingdom of the Ring cycle, conducted by Anton Seidl and directed by Angelo Neumann.[11]
The first production of the Ring in Italy was in Venice (the place where Wagner died), just two months after his 1883 death, at La Fenice.[12]
The first Australasian Ring (and The Mastersingers of Nuremberg) was presented by the Thomas Quinlan company Melbourne and Sydney in 1913.
Modern productions[edit]
The Ring is a major undertaking for any opera company: staging four interlinked operas requires a huge commitment both artistically and financially; hence, in most opera houses, production of a new Ring cycle will happen over a number of years, with one or two operas in the cycle being added each year.[citation needed] The Bayreuth Festival, where the complete cycle is performed most years, is unusual in that a new cycle is almost always created within a single year.[citation needed]
Early productions of the Ring cycle stayed close to Wagner's original Bayreuth staging. Trends set at Bayreuth have continued to be influential. Following the closure of the Festspielhaus during the Second World War, the 1950s saw productions by Wagner's grandsons Wieland and Wolfgang Wagner (known as the 'New Bayreuth' style), which emphasised the human aspects of the drama in a more abstract setting.[13]
Gwyneth Jones performing at the 1976 Bayreuth production of Der Ring des Nibelungen, conducted by Pierre Boulez and directed by Patrice Chéreau
Perhaps the most famous modern production was the centennial production of 1976, the Jahrhundertring, directed by Patrice Chéreau and conducted by Pierre Boulez.[14] Set in the industrial revolution, it replaced the depths of the Rhine with a hydroelectric power dam and featured grimy sets populated by men and gods in 19th and 20th century business suits. This drew heavily on the reading of the Ring as a revolutionary drama and critique of the modern world, famously expounded by George Bernard Shaw in The Perfect Wagnerite. Early performances were booed but the audience of 1980 gave it a 45-minute ovation in its final year;[15][16] the production is now generally regarded as revolutionary and a classic.[citation needed]
Although many Ring productions try to remain close to Wagner's original stage design and direction, others seek to re-interpret the Ring for modern audiences, often including decor and action that Wagner himself did not envisage. The production by Peter Hall, conducted by Georg Solti at Bayreuth in 1983 is an example of the former, while the production by Richard Jones at the Royal Opera House Covent Garden in 1994–1996, conducted by Bernard Haitink, is an example of the latter.[citation needed]
In 2003 the first production of the cycle in Russia in modern times was conducted by Valery Gergiev at the Mariinsky Opera, Saint Petersburg, designed by George Tsypin. The production drew parallels with Ossetian mythology.[17]
The Royal Danish Opera performed a complete Ring cycle in May 2006 in its new waterfront home, the Copenhagen Opera House. This version of the Ring tells the story from the viewpoint of Brünnhilde and has a distinct feminist angle. For example, in a key scene in Die Walküre, it is Sieglinde and not Siegmund who manages to pull the sword Nothung out of a tree. At the end of the cycle, Brünnhilde does not die, but instead gives birth to Siegfried's child.[18]
The Canadian Opera Company celebrated the opening of its new home, the Four Seasons Centre, by performing three complete Ring Cycles in September 2006. Each part of the cycle had a different director.[citation needed]
San Francisco Opera and Washington National Opera began a co-production of a new cycle in 2006 directed by Francesca Zambello. The production uses imagery from various eras of American history and has a feminist and environmentalist viewpoint. Recent performances of this production took place at the John F. Kennedy Center for the Performing Arts in Washington D.C. on April–May 2016, featuring Catherine Foster and Nina Stemme as Brünnhilde, Daniel Brenna as Siegfried, and Alan Held as Wotan.[19] San Francisco Opera will stage this production again in the summer of 2018 with Evelyn Hertzlius as Brünnhilde and Greer Grimsley as Wotan.[20]
Los Angeles Opera presented its first Ring cycle in 2010 directed by Achim Freyer.[21] Freyer staged an abstract production that was praised by many critics but criticized by some of its own stars.[22] The production featured a raked stage, flying props, screen projections and special effects.
Modern costuming shown in closing bows following Siegfried in 2013 at the National Theatre in Munich
Modern costuming shown in closing bows following Götterdämmerung in 2013 at the National Theatre in Munich. Left to right: Gunther, the 3 Rhinemaidens, Gutrune, Hagen, Brünnhilde, Siegfried
The Metropolitan Opera began a new Ring cycle in 2010, conducted by James Levine with Bryn Terfel as Wotan. Deborah Voigt was Brünnhilde in the April 2011 production of Die Walküre. The staging of Das Rheingold by Robert Lepage involved 24 identical wedges able to rotate independently on a horizontal axis across the stage, providing level, sloping, angled or moving surfaces facing the audience. Bubbles, falling stones and fire are projected on to these surfaces, linked by computer with the music and movement of the characters. In 2013, The Met's orchestra and chorus were awarded the Grammy Award for Best Opera Recording for their performance of Der Ring des Nibelungen.[23]
Opera Australia presented The Ring Cycle at the State Theatre in Melbourne, Australia, in November 2013, directed by Neil Armfield and conducted by Pietari Inkinen. Classical Voice America heralded the production as "one of the best Rings anywhere in a long time."[24] The production was presented again in Melbourne from 21 November to 16 December 2016 starring Lise Lindstrom, Stefan Vinke, Amber Wagner and Jacqueline Dark.[25]
It is possible to perform The Ring with fewer resources than usual. In 1990, the City of Birmingham Touring Opera (now Birmingham Opera Company), presented a two-evening adaptation (by Jonathan Dove) for a limited number of solo singers, each doubling several roles, and 18 orchestral players.[26] This version was subsequently given productions in the USA.[27] A heavily cut-down version (7 hours plus intervals) was performed at the Teatro Colón in Buenos Aires on 26 November 2012 to mark the 200th anniversary of Wagner's birth.[28]
Recordings of the Ring cycle[edit]
Main article: Der Ring des Nibelungen discography
Other treatments of the Ring cycle[edit]
Orchestral versions of the Ring Cycle, summarizing the work in a single movement of an hour or so, have been made by Leopold Stokowski, Lorin Maazel (Der Ring ohne Worte) (1988) and Henk de Vlieger (The Ring: an Orchestral Adventure), (1991).[29]
Produced by the Ridiculous Theatrical Company, Charles Ludlam's 1977 play Der Ring Gott Farblonjet was a spoof of Wagner's operas. The show received a well-reviewed 1990 revival in New York at the Lucille Lortel Theatre.[30]
Books cited[edit]
Burbidge, Peter and Richard Sutton, The Wagner Companion, London, 1979. ISBN 0571114504
Cooke, Deryck, I Saw the World End: A Study of Wagner's Ring. New York: Oxford University Press, 2000 ISBN 0193153181.
Fifield, Christopher. Ibbs and Tillett: The Rise and Fall of a Musical Empire (Chapter 3, pp. 25–26). London: Ashgate Publishing, 2005. ISBN 1-84014-290-1, ISBN 9781840142907.
Magee, Bryan, (1988) Aspects of Wagner. Oxford University Press, ISBN 0192840126.
Mendelssohn, Fanny, ed. Marcia Citron (1987) Letters of Fanny Hensel to Felix Mendelssohn. Pendragon Press ISBN 978-0-918728-52-4
Millington, Barry (2008) "Der Ring des Nibelungen: conception and interpretation," in Grey, Thomas S. (ed.) The Cambridge Companion to Wagner, pp. 74–84, Cambridge University Press. ISBN 9780521644396.
Wagner, Richard, tr. William Ashton Ellis (1994), The Art Work of the Future, and other works, Lincoln and London. ISBN 9780803297524. "A Communication to My Friends" is on pp. 269–392.
Shaw, George Bernard (1898) The Perfect Wagnerite.[31]
References and notes[edit]
Jump up ^ von Rhein, John (September 21, 2016). "An epic beginning for Lyric's new Wagner 'Ring' cycle". Chicago Tribune. Retrieved June 17, 2017.
Jump up ^ Magee (2001), p. 109
Jump up ^ For a detailed examination of Wagner's sources for the Ring and his treatment of them, see, among other works, Deryck Cooke's unfinished study of the Ring, I Saw the World End, and Ernest Newman's Wagner Nights. Also useful is a translation by Stewart Spencer (Wagner's Ring of the Nibelung: Companion, edited by Barry Millington) which, as well as containing essays, including one on the source material which provides an English translation of the entire text that strives to remain faithful to the early medieval Stabreim technique Wagner used.
Jump up ^ Wagner (1994) 287
Jump up ^ Wagner (1994) 336–7
Jump up ^ Wagner (1994) 391 and n.
Jump up ^ Burbidge and Sutton, (1979), pp. 345–6
Jump up ^ Millington (2008) 80
Jump up ^ Shaw (1898) section: "Back to Opera Again"
Jump up ^ Letter of 9 December 1840. See Mendelssohn (1987), pp. 299–301
Jump up ^ Fifield (2005), pp. 25f
Jump up ^ Posted by Boydell and Brewer (2008-12-02). "From Beyond the Stave: The Lion roars for Wagner". Frombeyondthestave.blogspot.com. Retrieved 2017-04-29.
Jump up ^ "Productions – Wieland Wagner, New Bayreuth". Wagner Operas. 2012-03-03. Retrieved 2017-04-29.
Jump up ^ "The 1976 Bayreuth Centennial Ring", Wagneropera.com, retrieved 2 December 2011
Jump up ^ Kozinn, Allan (7 October 2013). "Patrice Chéreau, Opera, Stage and Film Director, Dies at 68". The New York Times. Retrieved 8 October 2013.
Jump up ^ Millington, Barry (8 October 2013). "Patrice Chéreau and the bringing of dramatic conviction to the opera house". The Guardian. London. Retrieved 11 October 2013.
Jump up ^ "Mariinsky Theatre brings Ring Cycle to Covent Garden in Summer 2009", Musicalcriticism.com 1 March 2009, retrieved 1 December 2011
Jump up ^ "Archived copy". Archived from the original on 26 April 2012. Retrieved 3 December 2011.
Jump up ^ "Ring Cycle | The John F. Kennedy Center for the Performing Arts". Kennedy-center.org. 2016-05-22. Retrieved 2017-04-29.
Jump up ^ "The Ring". SFOpera. Retrieved 2017-10-24.
Jump up ^ Diane Haithman (2009-02-15). "Achim Freyer is consumed by 'The Ring of the Nibelung'". LA Times. Retrieved 2017-04-29.
Jump up ^ Adams, Guy (2010-05-15). "Wagner star and director clash in US costume drama". The Independent. Retrieved 2017-04-29.
Jump up ^ "55th Annual GRAMMY Awards Nominees: Classical". Grammy.com. Retrieved 10 February 2013.
Jump up ^ "Bedeviled Ring Seemed Doomed, Then Curtain Rose". Classicalvoiceamerica.org. 2013-12-14. Retrieved 2017-04-29.
Jump up ^ "It's a Wrap: The Melbourne Ring". Classic Melbourne. Retrieved 23 August 2017.
Jump up ^ "The Ring Saga". birminghamopera.org.uk. 2013. Retrieved 5 August 2013.
Jump up ^ Croan, Robert (18 July 2006). "Opera Review: Abridged staging of classic Wagner cycle rings true – Pittsburgh Post-Gazette". post-gazette.com. Retrieved 5 August 2013.
Jump up ^ Samira Schellhaaß (27 September 2012). "The Ring in Teatro Colón". Deutsche Welle. Retrieved 17 January 2016.
Jump up ^ [1] Archived 14 May 2016 at the Portuguese Web Archive
Jump up ^ Gussow, Mel (13 April 1990). "Der Ring Gott Farblonjet: review". The New York Times.
Jump up ^ "The Perfect Wagnerite: a Commentary on the Niblung's Ring, by Bernard Shaw". Gutenberg.org. Retrieved 2017-04-29.
Further reading[edit]
Besack, Michael, The Esoteric Wagner – an introduction to Der Ring des Nibelungen, Berkeley: Regent Press, 2004 ISBN 9781587900747.
Di Gaetani, John Louis, Penetrating Wagner's Ring: An Anthology. New York: Da Capo Press, 1978. ISBN 9780306804373.
Gregor-Dellin, Martin, (1983) Richard Wagner: His Life, His Work, His Century. Harcourt, ISBN 0151771510.
Holman, J.K. Wagner's Ring: A Listener's Companion and Concordance. Portland OR: Amadeus Press, 2001.
Lee, M. Owen, (1994) Wagner's Ring: Turning the Sky Round. Amadeus Press, ISBN 9780879101862.
Magee, Bryan, (2001) The Tristan chord: Wagner and Philosophy. Metropolitan Books, ISBN 0805067884.
May, Thomas, (2004) Decoding Wagner. Amadeus Press, ISBN 9781574670974.
Millington, Barry (editor) (2001) The Wagner Compendium. Thames and Hudson, ISBN 0500282749.
Sabor, Rudolph, (1997) Richard Wagner: Der Ring des Nibelungen: a companion volume. Phaidon Press, ISBN 0714836508.
Spotts, Frederick, (1999) Bayreuth: A History of the Wagner Festival. Yale University Press ISBN 0712652779.
External links[edit]
Wikimedia Commons has media related to Der Ring des Nibelungen.
Anthony Tommasini (2007). "The "Kirov" Ring: Let's Hear It for the Home Team". The New York Times.
"Radio Lab – The Ring and I". WNYC – A podcast about The Ring. 2004.
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