"the Valkyries greet each other and sing their battle-cry. Apart from the song of the Rhinemaidens in ""Das Rheingold"", it is the only ensemble piece in the first three operas of Wagner's ""Ring"" cycle. The complete opera ""Die Walküre"" was first performed on 26 June 1870 in the National Theatre Munich against the composer's intent. By January of the next year, Wagner was receiving requests for the ""Ride"" to be performed separately, but wrote that such a performance should be considered ""an utter indiscretion"" and forbade ""any such thing"". However, the piece was still printed and sold in Leipzig, and"
"synthesis of poetry and music is achieved without any notable sacrifice in musical expression"". The modern view is that, of the ""Ring"" operas, ""Die Walküre"" is both the most approachable and the one that can most successfully be performed in extracts. Die Walküre ' (The Valkyrie""""'), WWV 86B is the second of the four music dramas that constitute Richard Wagner's ""Der Ring des Nibelungen,"" (English: ""The Ring of the Nibelung""). It was performed, as a single opera, at the National Theatre Munich on 26 June 1870, and received its first performance as part of the ""Ring"" cycle at the Bayreuth"
"the full in ""Die Walküre""; Holman numbers 36 such motifs that are introduced in the work. The well-known ""Valkyrie"" motif, used to introduce Brünnhilde in Act 2, forms the basis of the famous Ride of the Valkyries that opens Act 3. Wagner wrote the concert version of the Ride in 1862, for performance in concerts at Vienna and Leipzig. As with ""Das Rheingold"", many years elapsed between the completion of the ""Die Walküre"" score and its first performance. Seeing little chance of the ""Ring"" project coming to any immediate fruition, and in need of money, in August 1857 Wagner abandoned"
"stage. Currently no further biographical details about Ritter have surfaced. Wilhelmine Ritter Wilhelmine Ritter was a German operatic mezzo-soprano. Little is known about the artist and the details about her birth and training are unknown. She was a member of the Bavarian State Opera in Munich from 1866 through 1871. While there she notably created the roles of Floßhilde in Richard Wagner's ""Das Rheingold"" on 22 September 1869 and Grimgerde (one of the Valkyries) in Wagner's ""Die Walküre"" on 26 June 1869. Her last performance at the house was as Orfeo in Christoph Willibald Gluck's ""Orfeo ed Euridice"" in 1871."
"Wilhelmine Ritter Wilhelmine Ritter was a German operatic mezzo-soprano. Little is known about the artist and the details about her birth and training are unknown. She was a member of the Bavarian State Opera in Munich from 1866 through 1871. While there she notably created the roles of Floßhilde in Richard Wagner's ""Das Rheingold"" on 22 September 1869 and Grimgerde (one of the Valkyries) in Wagner's ""Die Walküre"" on 26 June 1869. Her last performance at the house was as Orfeo in Christoph Willibald Gluck's ""Orfeo ed Euridice"" in 1871. She got married soon after and retired permanently from the"
"was composed in 1854 as part of the composition of the entire opera, which was fully orchestrated by the end of the first quarter of 1856. In the ""Walküre"" opera, the ""Ride"", which takes around eight minutes, begins in the prelude to the third act, building up successive layers of accompaniment until the curtain rises to reveal a mountain peak where four of the eight Valkyrie sisters of Brünnhilde have gathered in preparation for the transportation of fallen heroes to Valhalla. As they are joined by the other four, the familiar tune is carried by the orchestra, while, above it,"
"in his bunker at Berlin. It was destroyed (along with the autograph scores of Die Feen, Das Liebesverbot and Rienzi, and the fair copy of Die Walküre) shortly before the fall of Berlin in May 1945 (though a number of conspiracy theories continue to claim otherwise). As we have seen, Wagner sketched out the theme for the Ride of the Valkyries on 23 July 1851; other than this, the earliest musical sketches for ""Die Walküre"" date from the summer of 1852. But it was not until 28 June 1854 that Wagner began to transform these into a complete draft of"
"debuted in New York at the Liberty Theatre, and was the score utilized in all showings save those on the West Coast. Outside of original compositions, Breil adapted classical music for use in the film, including passages from ""Der Freischütz"" by Carl Maria von Weber, ""Leichte Kavallerie"" by Franz von Suppé, Symphony No. 6 by Ludwig van Beethoven, and ""Ride of the Valkyries"" by Richard Wagner, the latter used as a leitmotif during the ride of the KKK. Breil also arranged several traditional and popular tunes that would have been recognizable to audiences at the time, including many Southern melodies;"
"J. G. Sandberg, ""Reitende Walküre"" (fresco), previously located in Munich palace but now destroyed, 1865–66 by M. Echter, ""Valkyrien"" and ""Valkyriens død"" (paintings, both from 1860), ""Walkürenritt"" (etching, 1871) by A. Welti, ""Walkürenritt"" (woodcut, 1871) by T. Pixis, ""Walkürenritt"" (1872) by A. Becker (reproduced in 1873 with the same title by A. v. Heyde), ""Die Walkyren"" (charcoal, 1880) and ""Walkyren wählen und wecken die gefallenen Helden (Einherier), um sie vom Schlachtfield nach Walhall zu geleiten"" (painting, 1882) and ""Walkyrenschlacht"" (oil painting, 1884) by K. Ehrenberg, ""Walkürenritt"" (oil painting, 1888, and etching, 1890) by A. Welti, ""Walküre"" (statue) by H. Günther,"
"ensemble singing. As with ""Das Rheingold"", Wagner wished to defer any performance of the new work until it could be shown in the context of the completed cycle, but the 1870 Munich premiere was arranged at the insistance of his patron, King Ludwig II of Bavaria. More so than the other ""Ring"" dramas, ""Die Walküre"" has achieved some popularity as a stand-alone work, and continues to be performed independently from its role in the tetralogy. The story of ""Die Walküre"" is based on the Norse mythology told in the ""Volsunga Saga"" and the ""Poetic Edda"". In this version the Volsung"
"a thought for the tears from which the smiles arose."" The premiere was given at the Königliches Hof- und National-Theater, Munich, on June 21, 1868. The production was sponsored by Ludwig II of Bavaria and the conductor was Hans von Bülow. Franz Strauss, the father of the composer Richard Strauss played the French horn at the premiere, despite his often-expressed dislike of Wagner, who was present at many of the rehearsals. Wagner's frequent interruptions and digressions made rehearsals a very long-winded affair. After one 5 hour rehearsal, Franz Strauss led a strike by the orchestra, saying that he could not"
"Wagner subsequently wrote a complaint to the publisher Schott. In the period up to the first performance of the complete ""Ring"" cycle, Wagner continued to receive requests for separate performances, his second wife Cosima noting ""Unsavoury letters arrive for R. – requests for the Ride of the Valkyries and I don't know what else."" Once the ""Ring"" had been given in Bayreuth in 1876, Wagner lifted the embargo. He himself conducted it in London on 12 May 1877, repeating it as an encore. Uses in film include the original score for ""The Birth of a Nation"" (1915), and ""What's Opera,"
"of the German composer's opera ""Die Walküre"" (""The Valkyrie"") in Munich. The brainchild of Wagner's longtime friend, the music publisher Emil Heckel, the first society was a simple, locally conceived venue for celebrating Wagner's music. In the wake of Wagner's difficulties in securing interest in the public subscription for his future Bayreuth Festival, Heckel suggested to the composer that he sponsor additional societies to help secure support. Wagner embraced the idea enthusiastically, and by 1872, societies had been established in Vienna, Berlin, Leipzig and London (the latter founded by Edward Dannreuther (1844-1905), the author of ""Richard Wagner: His Tendencies and"
"In 1900 he had set Uhland's song ""Des Dichters Abendgang"" (The poets evening stroll), which expressed this view that ""When the dark clouds roll down..You carry within yourself the blessing of song. The light, that you saw there, Gently shines upon you on the dark paths."" The premier was given at the Salzburg Festival on 11 August 1943 with the horn player Gottfried von Freiberg (1908–1962), Karl Böhm conducting the Vienna Philharmonic. The same combination recorded it soon after. Richard Strauss himself was not present at the premiere, but had been at the festival earlier and left on 9 August"
"stone of the Bayreuth Festspielhaus in 1872, alongside Johanna Jachmann-Wagner, Albert Niemann and Franz Betz, with Wagner conducting. She created two roles, Wellgunde the Rhinemaiden and Waltraute the Valkyrie, in the first complete performance of Wagner's ""Der Ring des Nibelungen"" at the inaugural Bayreuth Festival from 13 to 17 August 1876. The other two Rhinemaidens were her sister Lilli Lehmann, and Minna Lammert. They performed ""swimming"" in an apparatus imagined by Wagner. After the opening scene was first tried, stage assistant Richard Fricke wrote in his diary that Wagner ""thanked them with tears of joy"". Lehmann sang again in Bayreuth"
"The ""Annunciation of Death"" motif is the crucial point, where the two narratives (Wotan/Brünnhilde and Siegmund/Sieglinde) come together. Wagner chose the tonality of F♯ minor for this scene, eventually modulating to B minor in preparation for the Valkyries' entry in Act 3. The act opens with the famous sequence known as the ""Ride of the Valkyries"", formed by combining the Valkyries' own belligerent theme with Brünnhilde's war cry from act 2. The Ride has achieved lasting popularity as an orchestral concert piece outside the framework of the ""Ring"" cycle; according to Newman, in the orchestral version and sometimes within the"
"""Die Walküre"") at Munich in 1869 and 1870. Wagner, however, was now planning his great personal opera house at Bayreuth. Ludwig initially refused to support the grandiose project. However, when Wagner exhausted all other sources, he appealed to Ludwig, who loaned him 100,000 thalers to complete the work. Ludwig also paid for the Wahnfried villa for Wagner and his family to reside in, constructed 1872-74. In 1876, Ludwig attended the dress rehearsal and third public performance of the complete Ring Cycle at the Festspielhaus. Ludwig's interest in theater was by no means confined to Wagner. In 1867, he appointed Karl"
"shortly before his 80th birthday. Max Schlosser (tenor) Max Karl Schlosser (17 October 18352 September 1916) was a German opera singer. A tenor for most of his career, he later sang as a baritone and is remembered today for his character roles in Wagner's operas. He created the roles of David in ""Die Meistersinger von Nürnberg"" (1868), Mime in ""Das Rheingold"" (1869), and The Messenger in the posthumous premiere of Wagner's early opera ""Die Feen"" (1888). Schlosser also sang Mime at Bayreuth in the first complete performance of ""The Ring Cycle"" (1876) and in the cycle's first complete performance in"
"Wagner made another abortive attempt to compose music for his gradually emerging operatic cycle. Only a handful of sketches survive for ""Der junge Siegfried"" (""The Young Siegfried"", as ""Siegfried"" was originally called). Some of these were later drawn upon when Wagner came to compose ""Siegfried"" proper in 1856. A few other sketches survive from these early years. On 23 July 1851 Wagner wrote down on a loose sheet of paper what was to become the best-known leitmotif in the entire cycle: the theme from the ""Ride of the Valkyries"" (""Walkürenritt""). Other early sketches for Die Walküre were made in the"
"Otto Nicolai Carl Otto Ehrenfried Nicolai (9 June 1810 – 11 May 1849) was a German composer, conductor, and one of the founders of the Vienna Philharmonic. Nicolai is best known for his operatic version of Shakespeare's comedy ""The Merry Wives of Windsor"" as """". In addition to five operas, Nicolai composed lieder, works for orchestra, chorus, ensemble, and solo instruments. Nicolai, a child prodigy, was born in Königsberg, Prussia. He received his first musical education from his father, Carl Ernst Daniel Nicolai, who was also a composer and musical director. During his childhood his parents divorced, and while still"
"which could be done whenever he found the time. The prelude of act 1 was scored in August 1878. The rest of the opera was scored between August 1879 and 13 January 1882. On 12 November 1880, Wagner conducted a private performance of the prelude for his patron Ludwig II of Bavaria at the Court Theatre in Munich. The premiere of the entire work was given in the Festspielhaus at Bayreuth on 26 July 1882 under the baton of the Jewish-German conductor Hermann Levi. Stage designs were by Max Brückner and Paul von Joukowsky who took their lead from Wagner"
"Paul Lincke Carl Emil Paul Lincke (7 November 1866 – 3 September 1946) was a German composer and theater conductor. He is considered the ""father"" of the Berlin operetta and holds the same significance for Berlin as does Johann Strauss for Vienna and Jacques Offenbach for Paris. His well-known compositions include """" (""Berlin Air""), the unofficial anthem of Berlin, from his operetta ""Frau Luna""; and ""The Glow-Worm"", from his operetta ""Lysistrata"". Lincke was born on 7 November 1866 in the Jungfern Bridge district of Berlin. He was the son of magistrate August Lincke and his wife Emilie. His father played"
"Max Schlosser (tenor) Max Karl Schlosser (17 October 18352 September 1916) was a German opera singer. A tenor for most of his career, he later sang as a baritone and is remembered today for his character roles in Wagner's operas. He created the roles of David in ""Die Meistersinger von Nürnberg"" (1868), Mime in ""Das Rheingold"" (1869), and The Messenger in the posthumous premiere of Wagner's early opera ""Die Feen"" (1888). Schlosser also sang Mime at Bayreuth in the first complete performance of ""The Ring Cycle"" (1876) and in the cycle's first complete performance in London (1882). Schlosser was born"
"stage between the middle of the 19th century and the 1920s. Burlesque operettas were written by Johann Strauss II (""Die lustigen Weiber von Wien"", 1868), Ziehrer (""Mahomed's Paradies"",1866; ""Das Orakel zu Delfi"", 1872; ""Cleopatra, oder Durch drei Jahrtausende"", 1875; ""In fünfzig Jahren"", 1911) and Bruno Granichstaedten (""Casimirs Himmelfahrt"", 1911). French references to burlesque are less common than German, though Grétry composed for a ""drame burlesque"" (""Matroco"", 1777). Stravinsky called his 1916 one-act chamber opera-ballet ""Renard"" (""The Fox"") a """"Histoire burlesque chantée et jouée"""" (""burlesque tale sung and played"") and his 1911 ballet ""Petrushka"" a ""burlesque in four scenes"". A later"
"Michael Kunze Michael Rolf Kunze (born 9 November 1943 in Prague) is a foremost German musical theater lyricist and librettist. He is best known for the hit musicals ""Elisabeth"" (1992), ""Dance of the Vampires"" (1996), ""Mozart!"" (1999), ""Marie Antoinette"" (2006), and ""Rebecca"" (2006). He has also written the lyrics for a number of hit songs (under the pseudonym Stephan Prager), including the number one Billboard hit ""Fly, Robin, Fly"" (1976) and was one of the top 1970s record producers, including songs for musical acts Silver Convention, Penny McLean, and Sister Sledge. Kunze has won a Grammy Award, ECHO Lifetime Award"
"Richard Strauss Richard Georg Strauss (; 11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include ""Der Rosenkavalier"", ""Elektra"", ""Die Frau ohne Schatten"" and ""Salome""; his Lieder, especially his ""Four Last Songs""; his tone poems, including ""Don Juan"", ""Death and Transfiguration"", ""Till Eulenspiegel's Merry Pranks"", ""Also sprach Zarathustra"", ""Ein Heldenleben"", ""Symphonia Domestica"", and ""An Alpine Symphony""; and other instrumental works such as ""Metamorphosen"" and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status"
"Lohengrin (opera) Lohengrin, WWV 75, is a Romantic opera in three acts composed and written by Richard Wagner, first performed in 1850. The story of the eponymous character is taken from medieval German romance, notably the ""Parzival"" of Wolfram von Eschenbach and its sequel, ""Lohengrin"", written by a different author, itself inspired by the epic of ""Garin le Loherain"". It is part of the Knight of the Swan tradition. The opera has inspired other works of art. King Ludwig II of Bavaria named his fairy-tale castle Neuschwanstein (New Swan Castle), after the Swan Knight. It was King Ludwig's patronage that"
"on 28 November 1877 at Offenbach's ""Théâtre des Bouffes Parisiens"". In its initial run the modest orchestra was appalled at the difficulty of Chabrier’s score, which was much more sophisticated than anything Offenbach wrote for the small boulevard theatre. It was first performed outside France in Berlin on 4 October 1878, then in Budapest on 23 November 1878. In New York City in 1890 at the Broadway Theatre, an English adaptation by J. Cheever Goodwin was titled ""The Merry Monarch"", with new music by Woolson Morse. Chabrier's music fared no better in London in 1899, where the score was rewritten"
"under the direction of Ferdinand Hiller. Another Wagner detractor was the French composer Charles-Valentin Alkan, who wrote to Hiller after attending Wagner's Paris concert on 25 January 1860 at which Wagner conducted the overtures to ""Der fliegende Holländer"" and ""Tannhäuser"", the preludes to ""Lohengrin"" and ""Tristan und Isolde"", and six other extracts from ""Tannhäuser"" and ""Lohengrin"": ""I had imagined that I was going to meet music of an innovative kind but was astonished to find a pale imitation of Berlioz ... I do not like all the music of Berlioz while appreciating his marvellous understanding of certain instrumental effects ..."
"been performed by many others. Lincke also composed the wedding dance played in the 1997 movie ""Titanic""; it is played while the ship is going down and in the dining room in earlier scenes. Paul Lincke Carl Emil Paul Lincke (7 November 1866 – 3 September 1946) was a German composer and theater conductor. He is considered the ""father"" of the Berlin operetta and holds the same significance for Berlin as does Johann Strauss for Vienna and Jacques Offenbach for Paris. His well-known compositions include """" (""Berlin Air""), the unofficial anthem of Berlin, from his operetta ""Frau Luna""; and ""The"
"Selective bibliography Richard Strauss Richard Georg Strauss (; 11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include ""Der Rosenkavalier"", ""Elektra"", ""Die Frau ohne Schatten"" and ""Salome""; his Lieder, especially his ""Four Last Songs""; his tone poems, including ""Don Juan"", ""Death and Transfiguration"", ""Till Eulenspiegel's Merry Pranks"", ""Also sprach Zarathustra"", ""Ein Heldenleben"", ""Symphonia Domestica"", and ""An Alpine Symphony""; and other instrumental works such as ""Metamorphosen"" and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying"
"from Wagner's ""Die Walküre"" was long a concert favourite, and has been recorded many times. His other Wagner transcriptions from the Ring Cycle were: ""Valhalla"", ""Siegmund's Love Song"", ""Ride of the Valkyries"" (""Die Walküre""), and ""Forest Murmurs"" (""Siegfried""). Pianists who have recorded these pieces include Josef Hofmann, Ignaz Friedman, Isador Goodman, Michael Ponti, Jean-Yves Thibaudet, Denis Plutalov and Severin von Eckardstein. He also transcribed: Brassin wrote two piano concertos and two German operettas (""Der Thronfolger"", The Heir to the Throne and ""Der Missionär"", The Missionary), as well as many smaller, now largely forgotten piano pieces. Louis Brassin Louis Brassin (24"
"Siegfried (opera) Siegfried, WWV 86C, is the third of the four music dramas that constitute ""Der Ring des Nibelungen"" (""The Ring of the Nibelung""), by Richard Wagner. It premiered at the Bayreuth Festspielhaus on 16 August 1876, as part of the first complete performance of ""The Ring"" cycle. The libretto of ""Siegfried"" was drafted by Wagner in November–December 1852, based on an earlier version he had prepared in May–June 1851 and originally entitled ""Jung-Siegfried"" (""Young Siegfried""), later changed to ""Der junge Siegfried"". The musical composition was commenced in 1856, but not finally completed until 1871. The libretto arose from Wagner's"