337 Sentences With "Götterdämmerung" | Random Sentence Generator

That same year, she sang the Third Norn in Wagner's "Götterdämmerung," again with Mr. Levine in the pit.

Illness forced Mr. Levine to cede "Siegfried" and "Götterdämmerung" to Fabio Luisi when the Lepage productions were introduced.

Now, with the Toronto run behind her, Ms. Goerke is bringing "Götterdämmerung" to Houston Grand Opera on Saturday, April 22.

Maybe hold a final party, as in "The Masque of the Red Death," or just blow everything up, as in Götterdämmerung.

The day before she sang her first "Götterdämmerung" here, an opera that runs more than five hours, she rested her voice.

My Bayreuth sojourn ended with that "Götterdämmerung," with its themes of cataclysm, the fading of old orders and the possibility of redemption.

"Götterdämmerung" (or "Twilight of the Gods"), the final, five-hour opera, explores the disconcerting idea that without the gods we are left alone.

On Saturday, the brilliant soprano Heidi Melton joins the group for selections from Wagner's "Götterdämmerung" in a program dedicated to myth, madness and dreams.

" Mr. Hilgers, 56, said in a Facebook message that his problems with Mr. Barenboim started during the Staatsoper's 2001-02 season, at a performance of Wagner's "Götterdämmerung.

And even though the five-and-a-half hour Götterdämmerung may not be to everyone's liking, Wagner's point still holds true: the concept is bigger than the music.

BRANTLEY For me, one of his most remarkable gifts is his ability to sustain a feeling of suspense (that Götterdämmerung doom) even though you know where you're headed.

A production of "Götterdämmerung" that opened in Turin in 1895 was performed every other day for six weeks and only the roles of Brünnhilde and Gutrune were double-cast.

It has considerable orchestral glories, not least the veiled hints of "Götterdämmerung" that hail Erda's warning to Wotan, yet his work modestly eschews grandeur in favor of exposing the voices.

Mr. Schager happened to be in the house to rehearse "Götterdämmerung" but was scheduled to sing a bit role in a concert version of Mozart's "Die Zauberflöte" across town later that evening.

The "Götterdämmerung" is electric; the "Die Walküre," which I heard live in 2011, is bathed in tragedy, rather than fired by ardor; the "Das Rheingold," released this month, is careful, darkly intense.

Time, however, is in short supply during Munich's summer festival, which became all too apparent in a rather sketchy "Siegfried," and a "Götterdämmerung" that took until the final hour to get going.

After intermission, Mr. Levine led an hour of excerpts from "Götterdämmerung," starting with the prologue's dawn music and the duet between the now-devoted lovers, which Mr. Vinke and Ms. Goerke sang beautifully.

"It's good for three months to just focus on music," Mr. Jordan said as he ate lunch between an orchestra rehearsal of "Siegfried" onstage and a piano rehearsal of "Götterdämmerung" in the Met's basement.

I once expected 'Götterdämmerung,' the 'Twilight of the Gods,' to move the EU. Today I became convinced, not that the EU couldn't continue this way, but that it really isn't continuing in any significant way.

Where the scenes for the Gibichung siblings in "Götterdämmerung" had been bland, there was now a curdled charge, and, in that opera, a crushing realism in Brünnhilde's acquiescence in what is, essentially, her own rape.

Right now he is focused on "Götterdämmerung" — the last installment of the "Ring," which will open on April 27 — then on doing two cycles of the "Ring" operas, each within the course of a week, as Wagner intended.

In an interview, edited and condensed for clarity, Mr. Botstein chose a favorite page from the score: the breaking of the dawn near the beginning — a dawn that, much like Wagner's in "Götterdämmerung," sets momentous events in motion.

After his last — which ended with Wagner's "Götterdämmerung," on April 22000, 22004 — he said that delivering the opera world's equivalent of color and play-by-play had been "the richest experience of my life," except for his marriage to Sylvia Allen.

This program, featuring the great dramatic soprano Nina Stemme singing Brünnhilde's Immolation Scene from Wagner's "Götterdämmerung," gives him a chance to show off his operatic chops, which he honed during a memorable run at the Bavarian State Opera in Munich.

"Siegfried doesn't know any fear, and I think this is the key for doing this role," the tenor Andreas Schager, who will make his Metropolitan Opera debut in "Götterdämmerung," the four-opera cycle's finale, on April 27, said in a recent phone interview.

The fire paintings push the artwork to the edge of obliteration, creating something new through a deliberate act of destruction, a paradigm that invokes the final moment's of Richard Wagner's Götterdämmerung, in which the ashes of Valhalla give birth to a world redeemed for humankind.

The stagings I saw, a "Tristan" whose first-act ship was represented by a series of Escher-like stairways, and a "Götterdämmerung" with a climactic scene in front of the New York Stock Exchange, would have been unrecognizable to audiences of a century ago.

"— Jason Guerrasio, Insider"The new trilogy is lucky to have [Daisy] Ridley, who handles Rey&aposs physical action with agility while simmering with the character&aposs inner conflicts; the digitized Götterdämmerung of the film&aposs final half hour acquires what impact it has through Rey&aposs dramatic journey.

But "887" has a lot less "Götterdämmerung" than much of his work, and its best moments share a childlike simplicity, as when he stands just to the side of the model apartment house and watches a miniature version of his beloved father's taxi drive away, its sign mournfully ablaze.

Mr. Nikitin has appeared at the Met recently in several Wagner operas, including as Kurwenal in a new "Tristan und Isolde" that opened the season in 2016; as Klingsor in a "Parsifal" production directed by François Girard, who is also staging the new "Holländer," in 2013 and 2018; and as Gunther in "Götterdämmerung" last year.

That was the jump made by Miles Salerni, a 25-year-old percussionist who spent the past two summers working here on the Tanglewood stage crew while trying to get his break, and who finally found himself onstage this month playing "Siegfried's Rhine Journey," from Wagner's "Götterdämmerung," as a fellow in the Tanglewood Music Center Orchestra.

All versions, however, use Götterdämmerung as a subtitle. Filming took place in Italy and Germany.

As such, the structure replicates that of Götterdämmerung, and also that of the full Ring cycle.

Her debut at the Metropolitan Opera in 2012 in Götterdämmerung was part of that company's documentary Wagner's Dream.

Megaherz released their first concert DVD on 16 November 2012, titled Götterdämmerung: Wacken Live. The song "Gegen den Wind" was released on 25 January 2013 as the second single to the band's album Götterdämmerung. The band announced on their official website on 20 January 2014 that they were working on a new album.

The architects of these towers included Wilhelm Kreis himself, who built 58 (47 to the Götterdämmerung design), and Bruno Schmitz.

Die Ärzte sings 2 songs of Terrorgruppe and other way around. The 1st track "Mach die Augen zu" was later released on Götterdämmerung.

Isabel Strauss [Strauß] (1928-1973) was a German operatic soprano. She appeared in Munich, Bern, Amsterdam, and Brussels, as well as singing Gutrune in Wieland Wagner's 1963 production of Götterdämmerung, in Cologne. Also in 1963, she portrayed Marta in a film of Tiefland. Following a 1973 performance of Götterdämmerung, she was a victim of a double-suicide, with the conductor Fritz Janota, in a forest near Bern.

Cooke (1967 audio), Ex. 27–28 The lament is played spiritedly during the Götterdämmerung prologue, as part of the orchestral interlude known as Siegfried's Rhine Journey, before a shadow falls across the music as it descends into the minor key of the "servitude" motive.Newman, p. 629 Newman describes the Rhinemaidens' scene with Siegfried": Frau Sonne..." and "Weilalala leia..." (Götterdämmerung, Act 3 Scene 1), as a "gracious woodland idyll".Newman, p.

La Jolla Music Society, Wendy Bryn Harmer Biography In the Ring Cycle, Harmer's frequent roles are Freia in Das Rheingold, Ortlinde in Die Walküre, and Third Norn or Gutrune in Götterdämmerung.

Götterdämmerung tower type Staircase in a Götterdämmerung type Bismarck tower (Hildesheim) After his death in 1898 Bismarck's already enormous popularity increased further and, with that, the number of monument projects. The year 1898 also represented a turning point in their design. On many examples the figure of Bismarck was shown in a medieval-looking armour instead of the usual contemporary costume. The design language of the monuments was often more archaic and considerably more architectural monuments were built.

Original concept art for the Götterdämmerung design by Wilhelm Kreis Oscar Geiges blueprint was based on the popular design concept Götterdämmerung by Wilhelm Kreis. This concept also included the plan to kindle a bonfire on top of all Bismarck towers on special occasions such as the 1st of April, Bismarcks birthday. A staircase to the tower was not implemented. An iron ladder is the only way to access the top of the tower or the fire pits.

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.

Ms. Owen sang Brünnhilde Der Ring des Nibelungen with great critical acclaim at Staatstheater Kassel. Complete live recordings of Die Walküre, Siegfried and Götterdämmerung were successfully released on CD by Ars Production, Germany.

GötterDÄmmerung - Tribut an die beste Band der Welt (Twilight of the Gods - Tribute album to "the best band in the world" - "DÄ" stand for D Ärzte) is a tribute album of Die Ärzte songs.

Flagstad sang minor roles in 1933, but at the next season in 1934, she sang the roles of Sieglinde in Die Walküre and Gutrune in Götterdämmerung at the Festival, opposite Frida Leider as Brünnhilde.

In the project Der Ring in Minden, she also appeared as Fricka in Das Rheingold and Die Walküre, and as Waltraute in Die Walküre and Götterdämmerung. Reviews in Online Musik Magazin noted her rich voice and called her scene warning Brünnhilde in Götterdämmerung a musical highlight with intense dramatic acting. Göring sang as a guest at opera houses including the Deutsche Oper Berlin, Deutsche Oper am Rhein, Aalto Theater in Essen, Theater Chemnitz, Theater Kiel and Theater Bremen. Göring sings a broad repertoire of lieder and oratorios.

Götterdämmerung (German for Twilight of the Gods) is the seventh album by the German industrial metal band Megaherz, released on 20 January 2012. It is the first album by this band to feature Christoph Klinke on guitars.

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.

On June 17, 1969, Sullivan's body was found floating in Lake Geneva. He had been in Geneva, Switzerland, to sing Siegfried in a production of Götterdämmerung at the Grand Théâtre de Genève. He had been missing for several days.

This is a discography of Götterdämmerung, the fourth of the four operas that make up Der Ring des Nibelungen (The Ring of the Nibelung), by Richard Wagner, which received its premiere at the Bayreuth Festspielhaus on 17 August 1876.

31 Whatever is surmised, the Rhinemaidens are in a different category from Wotan and the other gods, who are destroyed by fire at the end of Götterdämmerung, while the Rhinemaidens swim happily away in the river, bearing their recovered treasure.

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.

Nancy Maultsby (Burlington, North Carolina) is an American operatic mezzo- soprano. She has performed often with Lyric Opera of Chicago, where she appeared as Erda in Das Rheingold and Siegfried, as well as the First Norn and Waltraute in Götterdämmerung, all conducted by Zubin Mehta. She also sang La Cieca in La Gioconda there conducted by Bruno Bartoletti and Pauline in Pique Dame conducted by Sir Andrew Davis, both of which opened the company's season. She appeared as Erda in both Das Rheingold and Siegfried and Waltraute in Götterdämmerung in the new Stephen Wadsworth Der Ring des Nibelungen with Seattle Opera.

After seeing Wagner's Götterdämmerung, he asked: "Tell me, why did they burn the woman at the end?"Keith William Kinder, The Wind and Wind-chorus Music of Anton Bruckner. Westport, Connecticut: Greenwood Publishing Group (2000): 51, note 14 Nor did Bruckner ever write an oratorio.

Shushlin graduated from the Saint Petersburg Conservatory in 1920. Between 1922 and 1924, he performed with the Saint Petersburg Philharmonic Orchestra. His last performance with them was of Götterdämmerung on April 16, 1924. Fleeing Russia after the Russian Revolution, Shushlin moved to Harbin in 1924.

K. U. Groth: DEUTSCHE OPER: ELEKTRA. Aufführungskritik. In Opernglas. 11 November 1990 issue, In the 1982/83 season at the Theater Augsburg she took over Brünnhilde in the Götterdämmerung in the revival of the last part of Wagner's Ring cycle.Jeffrey Alexander: AUGSBURG: SOLIDE GÖTTERDÄMERUNG.

She returned to Darmstadt in 1865, where she remained for the next twelve years, performing under the name of Louise Jaide. In 1872, Richard Wagner heard Jaide perform in Darmstadt and was very impressed by her vocal and dramatic abilities. He invited her to take part in the first presentation of the complete Ring Cycle at the Bayreuth Festival in 1876. This was the first time that the third and fourth operas in the Ring cycle, Siegfried and Götterdämmerung, were heard. Jaide played Erda in Siegfried at its première on August 16, 1876, and she played Waltraute in Götterdämmerung at its première on August 17, 1876.

Vinzing was awarded the title of Kammersängerin. In October 1993 she retired from the stage with a gala concert in the Lübecker . She sang excerpts from Die Walküre and Götterdämmerung, in which her long-time stage colleagues Donald McIntyre (Wotan) and Spas Wenkoff (Siegfried) were her partners.

Tommasini, Anthony. "Dragon, Dwarfs and Demigod: It Must Be Wagner". New York Times. October 28, 2011. Morris also sang Siegfried in the Met's new Götterdämmerung beginning January 27, 2012, and that production was also cinecast and radio broadcast live around the world on February 11, 2012.Götterdämmerung. Metropolitan Opera playbill for January 27, 2012.Metropolitan Opera House: February 11, 2012 Matinee Morris reprised the role of Siegfried at the Met in April and May 2012 in two consecutive Ring cycles, including a live Metropolitan Opera radio broadcast of Siegfried on April 21.Ring Cycle 2012 at the Metropolitan OperaMetropolitan Opera House: April 21, 2012 Broadcast On May 7, 2012 a documentary film, Wagner's Dream, which documents the making of the 2011–12 Met Ring cycle, including Morris's precipitous casting and rise to prominence, was cinecast worldwide in select cinemas.Ring HD Encores – 2012 Encore cinecasts of Morris's Siegfried and Götterdämmerung occurred on May 16 and May 19, 2012, as part of the encore Ring-cycle Metropolitan Opera Live in HD; Siegfried was shown again in select movie theaters on November 22, 2012.

Cover art In 2003, Ring was followed by a sequel, Ring II: Twilight of the Gods, which brings the cycle to an end, following the two last parts of Wagner's Ring des Nibelungen, Siegfried and Götterdämmerung. Ring II was met with extremely negative reviews and considered a failure.

The press has called Recondite's musical style e.g. "moll techno", "John Carpenter-House" (Groove), "meditative techno" (Resident Advisor), "Bayreuth in 4/4" and "Götterdämmerung in 808" (De:Bug). Recondite uses field recording and synthesizers. He works with the native operator synthesizer from Ableton, which combines analog sounds and frequency modulation synthesis.

Puffett (1984) 48–9 Wagner took 26 years from writing the first draft of a libretto in 1848 until he completed Götterdämmerung in 1874. The Ring takes about 15 hours to performMillington (2001) 285 and is the only undertaking of such size to be regularly presented on the world's stages.

Mann, Götterdämmerung, p. 91 She exhorts the Rhinemaidens to "carefully guard it" in the future, then leaps into the flames of Siegfried's pyre. The fire blazes up to fill the stage, representing the destruction of the gods. As the Rhine overflows its banks the Rhinemaidens appear, making for the ring.

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.

Elkin 1946, 145. He later appeared as Boris, as Gurnemanz in Wagner's Parsifal, Hagen in Wagner's Götterdämmerung and Baron Ochs in Richard Strauss's Der Rosenkavalier at the Royal Opera House, Covent Garden.Eaglefield-Hull 1924; Brook 1958; Pound 1969. In 1921, he became a founder-member of the British National Opera Company.

He created the role of Gűnther in Wagner's Götterdämmerung on 17 August 1876. In later years, he showed the perfection of art in his singing of German Lieder. His sons were actor and singer Hermann Gura and actor Eugen Gura Jr., and his granddaughter was actress Sascha Gura. He died in Aufkirchen, Bavaria.

As Götterdämmerung is about the end of the world (or at least the world of the Norse gods), in a very significant way "it is [all] over when the fat lady sings." The saying has become so well known that it was the subject of an article in the journal Obesity Reviews.

Photo of Järnefelt conducting the Royal Swedish Orchestra during the 400th anniversary celebrations of the Royal Swedish Opera (in Swedish). Retrieved 25 August 2015. Between 1932-36 Järnefelt was the artistic director and conductor of the Finnish National Opera. He presented, among others, Siegfried and Götterdämmerung from Wagner's Ring cycle, and Parsifal.

Turin: ERI, p. 468. first as a guest together with her sister as Brünnhilde at La Scala as Ortlinde in Wagner's Die Walküre (1949). She repeated the role in Rome (1952) and then in Bordeaux together with Beate Asserson (1954). She performed again at La Scala in 1953 as Wellgunde in Götterdämmerung.

In October 1988, she sang Warwara in Götterdämmerung in the complete Ring cycle at the Deutsche Oper Berlin. In October 1990, she made her role and house debut there as Ortrud in Wagner's Lohengrin. In November 1992, she sang Preziosilla again in a new musical rehearsal of Verdi's opera La forza del destino.

Günter Kloss; Sieglinde Seele: Bismarck-Türme und Bismarck-Säulen. Eine Bestandsaufnahme. Imhof, Petersberg 1997, After a competition for the design of towers or columns they received 317 architectural plans and finally awarded the prize to the design by the Dresden architect Wilhelm Kreis called "Götterdämmerung". His work inspired many tower projects all over Germany.

His Bayreuth career continued with Siegfried in 1988 (Siegfried) and 1989 (Götterdämmerung). In 1990, he appeared at the Metropolitan Opera with James Levine, singing both Siegfrieds, as well as the difficult role of Loge. The production was televised, and is available on DVD. In 1992, his Bayreuth- Siegfried was made as a DVD again.

He performed the four parts of Wagner's Der Ring des Nibelungen, staged by Vera Nemirova, finishing with Götterdämmerung in 2012. The complete cycle is to be performed twice in 2012. Singers have included Susan Bullock as Brünnhilde, Eva-Maria Westbroek as Sieglinde, Frank van Aken as Siegmund and Terje Stensvold as Wotan. Single performances were recorded.

214 Noël Coward is supposed to have remarked that the show was "longer than the Götterdämmerung ... and not nearly as funny!" In spite of this, the morning papers gave generally positive reviews, but hinted that the show needed much work, i.e., drastic editing, in order to succeed. Soon afterwards, Lerner was hospitalised for three weeks with a bleeding ulcer.

He returned to Warren briefly in 1979, where he would draw the series Götterdämmerung in Eerie as well as a number of stand alone stories. He departed Warren once more, but would return for one final story in 1982 shortly before Warren's bankruptcy. His work in Bruguera books, advertising, SF comic and Spanish pulp is huge and continues working.

Some of his recordings of operatic arias have been issued on CD. Notably, he was recorded live in a performance of Die Meistersinger at the Bayreuth Festival (1943), under the baton of Furtwängler; and, in a performance of Götterdämmerung, also at Bayreuth (1952), under the baton of Josef Keilberth. He was also a notable Otello, Bacchus and Herod.

Heimdall before the Rainbow Bridge In Norse religion, a burning rainbow bridge called the Bifrost connects Midgard (earth) with Asgard, home of the gods."Rainbows in Mythology", National Geographic. Bifrost can be used only by gods and those who are killed in battle. It is eventually shattered under the weight of war – the Ragnarok (German Götterdämmerung).

Erik Ralske is an American classical horn player. He has been principal horn of the Metropolitan Opera Orchestra since 2010, following seventeen seasons as third horn of the New York Philharmonic. He was featured horn soloist of the MET's production of Wagner's Ring Cycle,Lignana Rosenberg, Marion Lignana (24 April 2013). "Met closes Ring cycle with a grand and satisfying Götterdämmerung".

In Viersen that plan was realized in 1900 in a just a bit slimmer version, than the original "Götterdämmerung". It ended in a huge iron brazier on top of the building in order to light a beacon visible for miles on special occasions. The selected construction material became cuboid greywacke from the Wiehl Valley.Bismarcksäule auf dem Hohen Busch bei Viersen.

Hellmann was born in Berlin, where she studied voice with Erika Garski.Claudia Hellmann on Bach Cantatas, 2007 She made her operatic debut in 1958 at the Bayreuth Festival in the parts of Wellgunde in Wagner's Der Ring des Nibelungen, 4. Edelknabe in Lohengrin and 1. Knappe in Parsifal. She sang there annually until 1961, including the part of Waltraute in Götterdämmerung in 1960.

Werner Eberth: Bismarck und Bad Kissingen. Theresienbrunnen-Verlag, Bad Kissingen 1998, p. 341 Up to that time, the architect of the Bismarck Tower, Wilhelm Kreis, had already designed different Bismarck Towers; his concept "Götterdämmerung" was carried out in 47 towers alone, which differed only slightly from each other. The construction of the Bismarck Tower in Bad Kissingen, however, followed a completely new design.

After the end of the war Forbach worked in Essen, at the Münchner Kammerspielen and most recently at the Schauspiel Köln.Biografie bei isoldes-liebestod.net, retrieved on 11 January 2020. Forbach sang many Wagner roles in her opera career, Senta in Der fliegende Holländer, Gutrune in Götterdämmerung, Sieglinde and later also Brünnhilde in Die Walküre and Isolde in Tristan und Isolde.

Cooke (1979), p. 244 The maidens' lament then becomes a stern reproof: "Tender and true are only the depths", they sing; "False and cowardly is all that rejoices up there".Mann, Das Rheingold, p. 85 In the final Götterdämmerung scene they show ruthlessness as, having recovered the ring, they drag the hapless Hagen down into the waters of the Rhine.

He appeared at the Hessisches Staatstheater Wiesbaden as the Emperor in Die Frau ohne Schatten. Ryan performed at international festivals such as the Maggio Musicale Fiorentino and the Salzburg Festival. He was Siegfried at the Bayreuth Festival in 2010, 2013 and 2014, each time both in Siegfried and Götterdämmerung. Ryan appeared internationally in major opera houses in Europe and in New York.

He further went on to anticipate what he termed a "Götterdämmerung in the palace".Hammer, p. 295. After surrendering, Diệm rang Lodge and spoke to the American envoy for the last time. Lodge did not report the conversation to Washington, so it was widely assumed that the pair last spoke on the previous afternoon when the coup was just starting.

890 Waltraut is an Eoan asteroid from the outer region of the asteroid belt that was discovered by German astronomer Max Wolf on 11 March 1918. It was named for a character in Richard Wagner's opera, Götterdämmerung (Twilight of the Gods). This is a member of the dynamic Eos family of asteroids that most likely formed as the result of a collisional breakup of a parent body.

MacNeill (ed. and trans.): Poems by Flann Mainistrech, Gwynn (ed. and trans.): Ailech II A number of Flann's poems appear in the Lebor Gabála Érenn--the Book of the Invasion of Ireland--and his works on the Tuatha Dé Danann were influential,Carey: Irish National Origin Legend, pp.18-22; Thanisch: Flann Mainistrech's Götterdämmerung while a couple concern world history or themes from classical literature.

Michaela Schuster is a German operatic mezzo-soprano. She debuted at The Royal Opera as Herodias in Salome in 2008, and has since sung Princesse de Bouillon in Adriana Lecouvreur, and Venus in Tannhäuser. In the 2013/14 season, she sang Klytämnestra in Elektra and the Nurse in Die Frau ohne Schatten. In Gran Teatre del Liceu, 2016, she performed the role of Waltraute in Götterdämmerung.

Eulalia! is the 19th book in the Redwall children's fantasy novel series by author Brian Jacques and illustrated by David Elliot. "Eulalia" ("Victory") is also the war cry used by the fighting hares and badgers in the Redwall series. It comes from "Weialala leia", the lament of the Valkyries in Richard Wagner's opera Götterdämmerung, as quoted by T. S. Eliot in The Waste Land.

Elkin 1946, 153, 154. He continued to make recordings for HMV after the advent of the electric microphone in 1925. In late acoustic and early electric sets of Wagnerian passages, he is heard at some length (often opposite the great soprano Florence Austral), as Alberich in Das Rheingold, Wotan in Die Walküre, and Hagen in Götterdämmerung,Opera at Home (Gramophone Company, London 1927 Revised edition), 356–380.

" But Tony Williams notes that The Wild Bunch "extended those influences in more creative and dynamic ways", and Michael Sragow argued that "Peckinpah did it right in The Wild Bunch. He produced an American movie that equals or surpasses the best of Kurosawa. Scorsese tries to match it in Gangs of New York – and doesn't come close. The Wild Bunch is the Götterdämmerung of Westerns.

290) and the earlier notes by Jerrold Northrop Moore (August 1972, p. 321) and Herbert C. Ridout (April 1943, p. 156). Several radio recordings allegedly conducted by Muck also exist, including a Faust Overture and Trauermarsch (Götterdämmerung) with the Berlin Radio Orchestra and an excerpt from the Adagio of Bruckner's Symphony No. 7 with the Hamburg Philharmonic.See Christopher Dyment's notes with CD Appian APR5521.

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 in 1896, as the Second Norne in Götterdämmerung. After her retirement, Lehmann lived in Berlin, where she died aged 80. Her daughter, Hedwig Helbig (1869–1951), became a concert soprano and an assistant to Lilli Lehmann.

In 1899 (i.e. one year after Bismarck's death), Wilhelm Kreis created a fundamental tower design, known as Götterdämmerung ("Twilight of the Gods") for a competition by the German Student Union in the shape of a massive pillar of fire. This won the award by the competition's initiators and was built 47 times until 1911, thus becoming a standard form. In many places, however, there variations of this design.

Siegfried reforging the sword of the Empire (Reichsschwert), Bismarck-Nationaldenkmal, Berlin, completed 1901. Rhine maidens tease Siegfried. Illustration by Arthur Rackham from Siegfried and the Twilight of the Gods, English translation of Wagner's libretto for Götterdämmerung (1911). Siegfried remained a popular figure in Germany via Das Lied vom Hürnen Seyfrid and its prose version, the Historia vom gehörnten Siegfried, the latter of which was still printed in the nineteenth century.

Born in Sundsvall, she studied at the Stockholm Opera School The Times, Jul 4, 1955, p11 with the physician and vocal coach Gillis Bratt. She undertook further studies with Mme Charles Cahier in Stockholm and also in Milan and Berlin. She debuted as Gutrune in Wagner's Götterdämmerung with the Stockholm Opera in 1917. She remained one of the leading singers there until 1926 when began her international career.

She returned to the Met again in 1974 to sing Turandot. She returned to La Scala in 1975 to sing Brünnhilde in Götterdämmerung. Other notable appearances during the 1970s include performances at the Staatsoper Stuttgart, Royal Swedish Opera, Norwegian National Opera, Deutsche Oper Berlin, Vienna State Opera, and several Bayreuth festivals among others. In 1981, Bjoner made her debut at the Oper der Stadt Köln as Elisabeth in Tannhäuser.

He sang as a bass for ten years, later extending his range to bass-baritone. Paterson has sung with the English National Opera in a number of productions, including Mozart's Don Giovanni. He made his debut at the Salzburg Festival in 2007 as Fasolt in Wagner's Das Rheingold under Sir Simon Rattle. He first appeared at the Metropolitan Opera as Gunther in Wagner's Götterdämmerung in 2009, under James Levine.

The Metz Bismarck Tower is tall, and is one of the first Bismarck towers to be built in the Götterdämmerung style conceptualised by Wilhelm Kreis (squat construction, with a fire beacon at the top). It is thus very similar in design to its sister tower in Stuttgart (1904). Construction works were carried out by the firm Haase & Schott from Metz. The exterior of the tower is made out of limestone.

The landscape paintings in the 2006 Albemarle Gallery show were likened to a Götterdämmerung, and The Horsemen in the same show were said by Sewell to be the product of a darkly mediaeval imagination.Brian Sewell,'Saved from drowning in the sea of postmodernism' in London Evening Standard (London newspaper), 3 February 2006 In 2010, Harrison was selected for the John Moores Painting Prize Exhibition at the Walker Art Gallery in Liverpool.

Following EA's success with the EA Sports brand, Gremlin also released their own sports videogame series, adding Golf, Tennis and Ice Hockey to their Actua Sports series. During this time, they used a motif from the Siegfried Funeral March from Götterdämmerung as introductory music. The company was floated on the stock market to raise funds. In 1997, Gremlin acquired Imagitec Design and DMA Design (creators of Grand Theft Auto and Lemmings).

Carlo Pietro Tagliabue (January 13, 1898 in Mariano Comense – April 6, 1978 in Monza) was an Italian baritone. After studies with Leopoldo Gennai and Annibale Guidotti he made his debut in Lodi, Lombardy, in Loreley and Aida. His debuts in Genoa (1923), Torino, La Scala (1930), Rome (1931), and Naples (1931) were all in Tristan und Isolde (sung in Italian). He also performed in Wagner's Götterdämmerung, Tannhäuser and Lohengrin.

Her final appearance at the SFO was in 1980 as Rychtarka in Jenůfa. In 1973 Jones sang the role of Wellgunde in Götterdämmerung with the Chicago Symphony Orchestra under Georg Solti at Carnegie Hall. In 1976 she portrayed Tisbe in La Cenerentola at the Seattle Opera. In 1978 she sang several songs by Gustav Mahler in concert with the San Francisco Ballet at the Brooklyn Academy of Music.

Originally titled A Psychologist's Idleness, it was renamed Twilight of the Idols or, How to Philosophize with a Hammer. The former title, Götzen-Dämmerung in German, is a pun on the title of Richard Wagner's opera, Götterdämmerung, or 'Twilight of the Gods'. Götze is a German word for "idol" or "false god". Walter Kaufmann has suggested that in his use of the word Nietzsche might be indebted to Francis Bacon.

She also sang Isolde at Geneva, as well as Sieglinde and Kundry. San Francisco was the only place she appeared on stage in the United States, firstly as Brünnhilde in Die Walküre in October 1963, then in 1966 as Elektra, 1968 as Turandot, and finally as Brünnhilde in Götterdämmerung in 1969. Amy Shuard was appointed a Commander of the Order of the British Empire (CBE). She died in 1975, aged 50.

When Wagner returned to writing the music for the last act of Siegfried and for Götterdämmerung (Twilight of the Gods), as the final part of the Ring, his style had changed once more to something more recognisable as "operatic" than the aural world of Rheingold and Walküre, though it was still thoroughly stamped with his own originality as a composer and suffused with leitmotifs.Millington (2001) 294–5 This was in part because the libretti of the four Ring operas had been written in reverse order, so that the book for Götterdämmerung was conceived more "traditionally" than that of Rheingold;Millington (2001) 286 still, the self-imposed strictures of the Gesamtkunstwerk had become relaxed. The differences also result from Wagner's development as a composer during the period in which he wrote Tristan, Meistersinger and the Paris version of Tannhäuser.Puffett (1984) 43 From act 3 of Siegfried onwards, the Ring becomes more chromatic melodically, more complex harmonically and more developmental in its treatment of leitmotifs.

Freyer staged an abstract production that was praised by many critics but criticized by some of its own stars. 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 Bavarian State Opera in Munich Modern costuming shown in closing bows following Götterdämmerung in 2013 at the Bavarian State Opera. Left to right: Gunther, the Rhinemaidens, Gutrune, Hagen, Brünnhilde, Siegfried The Metropolitan Opera began a new Ring cycle directed by French-Canadian theater director Robert Lepage in 2010. Premiering with Das Rheingold on opening night of the 2010/2011 Season conducted by James Levine with Bryn Terfel as Wotan. This was followed by Die Walküre in April 2011 starring Deborah Voigt. The 2011/12 season introduced Siegfried and Götterdämmerung with Voigt, Terfel, and Jay Hunter Morris before the entire cycle was given in the Spring of 2012 conducted by Fabio Luisi (who stepped in for Levine due to health issues).

85 To the astonishment and envy of Decca's rivals the set outsold popular music releases such as those of Elvis Presley and Pat Boone.Culshaw (1967), pp. 91 and 124 The cast included Flagstad in one of her last recorded performances, in the role of Fricka, which she had never sung on stage. Culshaw hoped to record her as Fricka in Die Walküre and Waltraute in Götterdämmerung, but her health did not permit it.Culshaw (1967), p.

Decca Classical, 1929-2009 accessed 10 January 2012. By the end of the decade Decca's technical team was recognised as the best in the industry; The Times spoke of "Decca's incomparable engineers"."The Götterdämmerung everyone has been waiting for", The Times, 8 May 1965, p. 5 Under Haddy's technical leadership, Decca was the first British company to issue long playing records (1950) and was in the vanguard of stereophony in the middle of the decade.

Historians inside and outside Germany unanimously reject the myth, pointing out the German army was out of reserves, was being overwhelmed by the entrance of the United States into the war, and by late 1918 had lost the war militarily. To many Germans, the expression "stab in the back" was evocative of Richard Wagner's 1876 opera Götterdämmerung, in which Hagen murders his enemy Siegfried – the hero of the story – with a spear in his back.

He also appeared as Don Pizarro in Beethoven's Fidelio, Kaspar in Weber's Der Freischütz, Jochanaan in Salome by Richard Strauss, Escamillo in Bizet's Carmen, Amonasro in Verdi's Aida and the title role in his Rigoletto. He was a regular guest at the Dresdner Staatsoper. Wlaschiha first appeared at the Bayreuth Festival in 1984 as Alberich in Götterdämmerung. Alberich became his signature role, performed in Bayreuth until 1998, then conducted by James Levine.

He appeared in Munich, Dresden, Vienna and Berlin, where he also spent the war years. Dalberg sang at the Bayreuth Festival (1942–44 and 1951), taking the parts of Fafner in Das Rheingold and Hagen in Götterdämmerung. In the post-war years he was engaged at the Bavarian State Opera in Munich. In 1949 he visited South Africa for a guest appearance which was not agreed with the Munich opera director's office.

Weigle's new productions there have included Strauss' Die Frau ohne Schatten, Daphne and Arabella, Korngold's Die tote Stadt, Reimann's Lear and Die Fledermaus by Johann Strauß. He has also conducted performances of Mozart's Die Zauberflöte, Beethoven's Fidelio, Wagner's Tristan und Isolde and Parsifal for the company. He performed the four parts of Wagner's Der Ring des Nibelungen, staged by Vera Nemirova, finishing with Götterdämmerung in 2012. The complete cycle was performed twice in 2012.

Hering-Winckler worked towards raising interest among the younger audience by supporting performances at schools and extending invitations to students to visit rehearsals. In 2015 the project known as Der Ring in Minden was launched, aiming to present the complete Der Ring des Nibelungen. It opened with Das Rheingold, followed a year later by Die Walküre, in 2017 by Siegfried, and in 2018 by Götterdämmerung. In 2019, the complete cycle was presented twice.

It was as an established singer, therefore, that she went to England in 1947, and was first heard there in lieder recitals in BBC broadcasts. She joined the Covent Garden resident company in 1948 and rapidly gained approval. Her debut there was as Leonora (Beethoven's Fidelio), after which she appeared in several smaller parts such as the First Norn (Götterdämmerung) and the First Lady (The Magic Flute). She soon became the company's leading dramatic soprano.

Valhalla was one of two Virginia vineyards to process its grapes underground in 1998. The vineyard uses a "gravity flow" system in which grapes are pressed through holes in the roof of the winery, which is set into the hillside. The goal of this pump-free process is to prevent damage to the grapes. Valhalla Vineyards has primarily received attention for their red wines, such as the Götterdämmerung Cabernet Franc/Merlot blend.

3 March 1981 issue {}. Her interpretation of the text was "both understandable and thoughtful", the presentation "gripping", without the "least vocal fatigue". Vinzing was compared in vocal and playing intensity by the critics with the soprano Ursula Schröder-Feinen, who in Berlin was considered to be the unsurpassed soprano in this role. In June 1988 she was the "sovereign" Brünnhilde in the Götterdämmerung gala performance for the 75th birthday of the conductor Heinrich Hollreiser.

Assistant Secretary of State Roger Hilsman had written in August that "under no circumstances should the Nhus be permitted to remain in Southeast Asia in close proximity to Vietnam because of the plots they will mount to try to regain power. If the generals decide to exile Diệm, he should also be sent outside Southeast Asia."Hammer, p. 294. He further went on to anticipate what he termed a "Götterdämmerung in the palace".

Nikisch's illness, from February to April 1887, meant that Mahler took charge of the whole cycle (except Götterdämmerung), and scored a resounding public success. This did not, however, win him popularity with the orchestra, who resented his dictatorial manner and heavy rehearsal schedules.Carr, p. 43 In Leipzig, Mahler befriended Captain Carl von Weber (1849–1897), grandson of the composer, and agreed to prepare a performing version of Carl Maria von Weber's unfinished opera Die drei Pintos ("The Three Pintos").

Retrieved 28 July 2016.Lexikon der Bismarck-Denkmäler by Sieglinde Seele. Retrieved 28 July 2016. These towers were built between 1869Der älteste Bismarckturm von 1869 at www.bismarcktuerme.de. Retrieved 28 July 2016. and 1934 and some 173 remain today., retrieved 28 Jul 2016 Quite a few of these towers, including all 47 based on Wilhelm Kreis's Götterdämmerung design,Geschichte der Bismarcktürme at www.bismarcktuerme.de. Retrieved 28 July 2016 were built as so-called Bismarck Columns (Bismarcksäulen) or were converted into them.

Gall was born on 6 March 1885 in Paris."Yvonne Gall Enlists with Pathé" Music Trades (September 20, 1919): 37. She trained at the Conservatoire de Paris and made her debut in 1908 at the Paris Opéra under André Messager as Woglinde in the Paris premiere of Götterdämmerung. She went on to specialize in French lyric roles, particularly Marguerite, Manon, and Thaïs, though she also sang some dramatic roles such as Tosca, Elsa, and eventually Isolde.

As a dramatic soprano, Johansson has concentrated on the operas of Wagner and Strauss, notably Senta in The Flying Dutchman, Elisabeth in Tannhäuser, Isolde in Tristan und Isolde, Brünhilde in both Die Walküre and Götterdämmerung, the Empress in Die Frau ohne Schatten and the title roles of Elektra, Salome and Ariadne auf Naxos. In 2001, she was made a Berlin Kammersängerin. She has been married to Herwig Oswalder, a viola player with the Deutsche Oper Berlin, since 1994.

At the same time he left work after an extended guest appearance at the opera houses of the German speaking world. Four times he traveled to North America, where in 1884–89 he performed on the New York Metropolitan Opera with great success. There he sang in 1887 in the premiere of Viktor Nessler's opera Der Trompeter von Säkkingen. On 25 January 1888 he played the role of Gunther in the American premiere of Wagner's Götterdämmerung.

While there she notably portrayed the role of Dalila in the world premiere of Camille Saint-Saëns's Samson et Dalila on 2 December 1877 under the direction of Eduard Lassen. Her other roles in Weimar included Azucena in Giuseppe Verdi's Il trovatore, Frau Reich in Carl Otto Nicolai's The Merry Wives of Windsor, Fricka in both Richard Wagner's Das Rheingold and Die Walküre, and Floßhilde in Wagner's Götterdämmerung among others.Biography of Auguste von Müller on Operissimo.com (in German).

The phrase is generally understood to be a reference to opera sopranos, who were traditionally overweight. The imagery of Wagner's opera cycle Der Ring des Nibelungen and its last part, Götterdämmerung, is typically used in depictions accompanying uses of the phrase. The "fat lady" is thus the valkyrie Brünnhilde, who was traditionally presented as a very buxom lady. Her farewell scene lasts almost twenty minutes and leads directly to the finale of the whole Ring Cycle.

Klein also described her final scene as Brünnhilde in Götterdämmerung as "thrilling". According to Klein, she was one of the finest artists among the early crop of Wagnerian dramatic sopranos but her and her husband's opportunities to appear at the Bayreuth Festival dried up after they quarreled with the Wagner family. She retired from the operatic stage in 1892 as her voice had begun showing signs of deterioration. Her final performance was as Isolde, in Munich.

She was the solo soprano at the 2011 Last Night of the Proms on 10 September 2011,BBC (2011). Prom 74: Last Night of the Proms. Retrieved 30 March 2012 performing Brunnhilde's Immolation Scene from Act 3 of Götterdämmerung in Richard Wagner's Ring Cycle, as well as the traditional Rule, Britannia and Land of Hope and Glory. She was appointed Commander of the Order of the British Empire (CBE) in the 2014 Birthday Honours for services to opera.

Engert- Ely sang a broad repertoire on stage, which included baroque music, operas from Wolfgang Amadeus Mozart to Giuseppe Verdi, but especially works from the turn of the century, the 20th century and classical modernism. Her other stage roles included Dorabella in Così fan tutte, Brangäne in Tristan und Isolde, Waltraute in Götterdämmerung, Hansel, later also Gertrud/Hexe in Hänsel und Gretel and Charlotte in the opera Die Soldaten (1983, Deutsche Oper Berlin; season 1987/1988 in Paris).

He directed there the premiere of Judith by Siegfried Matthus. In 1988, he staged at the Bayreuth Festival Wagner's Der Ring des Nibelungen. The Los Angeles Times called the production "high-tech kitsch … a bizarre stylistic jumble"; The Guardian remarked on a Götterdämmerung "full of paltry gimmickry"; and The Times commented that "the production gets progressively lazier [and] peters out in the clichés of the day before yesteryear, which Kupfer doubtless thinks the last word in modernity".

The musical and theatrical influences of the opera can be felt in, amongst others, Liszt's monumental Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" for organ which is based on the Anabaptists' chorale, the duet between mother and lost child in Giuseppe Verdi's Il trovatore, and the catastrophic finale of Richard Wagner's Götterdämmerung. The tremendous success of Le prophète at its Paris première also provoked Wagner's anti-Jewish attack on Meyerbeer, Das Judenthum in der Musik.

She sang with the Los Angeles Philharmonic in Beethoven's Symphony No. 9 under Leonard Slatkin at the Hollywood Bowl, and appeared at the Opera Theatre of Saint Louis as Fiordiligi in Così fan tutte"Opera Theatre offers a well-sung Cosi" by Sarah Bryan Miller, St. Louis Post-Dispatch, June 5, 2012 and Gotham Chamber Opera as Licenza in Christopher Alden's production of Mozart's rarely heard Il sogno di Scipione to celebrate their 10th anniversary.Il sogno di Scipione, performance details, Gotham Opera She returned to Covent Garden as Gutrune in Götterdämmerung, again under Antonio Pappano"Siegfried, Götterdämmerung, Royal Opera House Covent Garden, review" by Rupert Christiansen, The Daily Telegraph, October 2, 2012 and Houston Grand Opera as Donna Anna in Don Giovanni.Short profile , Houston Grand Opera She was a member of the Semperoper Dresden ensemble from 2012 until 2015, where she continued to add to her repertoire, most notably, the title role in The Merry Widow, Fiordiligi in Così fan tutte, Vitellia in La clemenza di Tito, Elettra in Idomeneo, Diemut in Feuersnot, Rosalinde in Die Fledermaus, and MimÌ in La bohème.

In 1973 she portrayed Mimi in La bohème and Violetta with the Little Lyric Opera Company in Philadelphia. In 1974 she made her debut with the Philadelphia Lyric Opera Company as Nella in Gianni Schicchi.Free Library of Philadelphia: Box: Phila. Lyric Opera Company: 782.1 P5326p Bal Two [1968 - 1975] Day sang Rusalka for the United States premiere of that opera for her debut with the San Diego Opera in 1975. She later returned to San Diego as Ninetta in The Love for Three Oranges (1978), Nanetta in Falstaff (1978), Tatiana in Eugene Onegin (1985) and Countess Almaviva in The Marriage of Figaro (1986). In 1977 she made her debut at the San Francisco Opera (SFO) as Bubikopf in Viktor Ullmann's Der Kaiser von Atlantis. She has since returned to the SFO as Clorinda in Monteverdi's Il combattimento di Tancredi e Clorinda (1977), the Third Norn in Götterdämmerung (1985, 1990), and Gutrune in Götterdämmerung (1985). She also sang Tatiana for her debut at the Long Beach Opera in 1984.

In the other, a shell-shocked flyer whose doctor has prescribed "a profound experience" recovers the will to fight when he hears "Siegfried's Rhine Journey" during a performance of Wagner's Götterdämmerung at the Bayreuth Festival.Rother, p. 358.Richard Grunberger, A Social History of the Third Reich, London: Weidenfeld, 1971, , p. 386.Howard K. Smith, Last Train from Berlin, New York: Knopf, 1942, , p. 157, quoted in Rolf Giesen, Nazi Propaganda Films: A History and Filmography, Jefferson, North Carolina / London: McFarland, 2003, , p. 82.

The film score makes extensive use of classical music, both diegetic and non-diegetic. "Fanfare for the Common Man" by Aaron Copland is featured as Jimmy King's theme music. "Siegfried's Funeral March" from Götterdämmerung by German composer Richard Wagner plays quietly in the background during King's initial discomfiture at the hands of Titus Sinclair, played by Joe Pantoliano, and Diamond Dallas Page. A soundtrack for the film was released by Atlantic Records and 143 Records in both 'clean' and 'explicit' editions.

At the Expo 67, she sang the soprano part in Gustav Mahler's Fourth Symphony with the New York Philharmonic Orchestra, conducted by Leonard Bernstein. She sang in Beethoven's Ninth Symphony with the Bach-Chor Bonn in 1977. Zarou has been a professor of voice at the Robert Schumann Hochschule in Düsseldorf. One of her notable students was Maria Radner, a contralto who appeared in international operas including the Metropolitan Opera in 2012 in Götterdämmerung, which was part of the opera's documentary Wagner's Dream.

Harlock Saga: Götterdämmerung (3 volumes, only 2 completed) picks up the story almost a decade after the death of Great Harlock. Meeme, now serving Captain Harlock aboard the mighty space battleship Arcadia, has just finished telling him the full story behind the death of his father. Now that he understands the extent of Wotan's involvement in the affair Captain Harlock is aroused to wrath. Together with his ally Emeraldas he dares to defy Wotan once again and challenge Valhalla's rule over the universe.

Wagner enthusiasts would undoubtedly be encouraged by the Immolation Scene from Götterdämmerung delivered by Jane Eaglen, a British dramatic soprano whose recent success in Wagner in Chicago had evidently not been a flash in the pan. She was worthy to share a billing with Birgit Nilsson. On the last occasion on which Nilsson had appeared at the Met, in its 1983 Centennial Gala, she had sung Isolde's Narrative and Curse. In the Levine gala, that was the passage offered by Waltraud Meier.

In a symphony orchestra's percussion section, a tenor drum is a low-pitched drum, similar in size to a field snare, but without snares and played with soft mallets or hard sticks. It is larger in diameter than depth, and tonally is midway between the bass drum and unsnared side drum. Berlioz scored for 2 tenor drums in the "Grande messe des morts". His "Te Deum" requires 6 tenor drums. Wagner wrote for this drum in "Rienzi", "Lohengrin", "Die Walküre", “Götterdämmerung”, and "Parsifal".

Her death, however, was unforeseen and "came as a shock to the close-knit opera community," as Tim Page wrote at the time. "Ms. Troyanos had kept her illness to herself and continued to perform almost to the end."Page, Tim. "Opera Star Tatiana Troyanos, 54", New York Newsday, August 1993. She had last sung at the Met—the last of three performances of Waltraute (a role debut) to Gwyneth Jones' Brünnhilde in Wagner's Götterdämmerung, conducted by Levine—on May 1, 1993.

"Review: Met Opera's Turandot Reveals Layers of Humanity" by David Allen, The New York Times, 24 September 2015 Goerke has developed a relationship with the Edinburgh International Festival, making her debut in the role of Brünnhilde in 2017's Die Walküre, returning for Siegfried in 2018 and concluding with Götterdämmerung in 2019. Goerke married James Holloway, a former chef who now works in his family's construction business, on 2 October 2005. They have two daughters and are residents of Teaneck, New Jersey.

However, later in his career his voice had become heavy enough to take on further Wagnerian roles such as Tristan in Tristan und Isolde, Walther in Die Meistersinger von Nürnberg, and Siegfried in the first performance of Götterdämmerung at La Scala.Steane, J.B (2008). "Giraud, Fiorello" in L. Macy (ed.) The Grove Book of Opera Singers, p. 192. Oxford University Press After he retired from the stage, he taught singing in Parma where he died in 1928 at the age of 57.

"Denby Richards, "Macbeth at Covent Garden," Musical Opinion 129 no. 1452 (May–June 2006), p. 40. In reviewing his recording of Dvořák's 8th symphony, one critic tried for a deeper understanding of Kreizberg's ability at producing a dramatic performance: "His slow presentation of the opening melody followed by a fiery allegro sets up a nice dynamic contrast. He plays the crucial dramatic pauses in the second movement effectively, and he builds the climaxes slowly and grandly without making it sound like Götterdämmerung.

She was also Fricka there in Das Rheingold and Die Walküre, and Waltraute in Götterdämmerung. She performed the title role of Gluck's Alceste in 2013, conducted by Marc Minkowski, alongside Yann Beuron and Roberto Alagna. She made her debut at the Metropolitan Opera in New York City in the 2014 season, again as Charlotte alongside Kaufmann in Werther. In 2015 she performed the leading role of Sélika in the original version of Meyerbeer's L'Africaine, entitled Vasco da Gama, at the Deutsche Oper, Berlin.

He made his stage debut at the Cologne Opera in 1925. From 1927, he was a member of the Kroll Opera House in Berlin, where Otto Klemperer conducted. Also in 1927, Hammes appeared at the Bayreuth Festival as Amfortas in Parsifal and as Gunther in the Götterdämmerung. From 1929 to 1935, he was a member of the Vienna State Opera, with appearances at the Salzburg Festival, where he performed the title role in Mozart's Don Giovanni from 1929 to 1931.

Following Parsifal, Mott sang in Tristan, Meistersinger and Götterdämmerung. In 1914 the English composer Sir Edward Elgar attended the Festival, expecting to hear Tristan, but instead of that the curtain rose on Meistersinger in which Mott by chance took August Kiess's part of Kothner. Mott would have been singing the part of the Nachtigall, but Kiess was indisposed. Elgar was impressed by Mott's voice, praised him personally and remembering him later, recommended him for the part of the Priest in his Gerontius.

Previously, the COC had been performing at the O'Keefe Centre (renamed to the Hummingbird Centre and then the Sony Centre for the Performing Arts). In 2006, the COC opened its new opera house with an all-new production of Wagner's Der Ring des Nibelungen. Michael Levine was the designer, and there were four directors: Michael Levine (Das Rheingold), Atom Egoyan (Die Walküre), François Girard (Siegfried), and Tim Albery (Götterdämmerung). In 2006, Bradshaw's contract as general director was renewed for another 10 years.

By the early 1960s Guy featured regularly as a soloist in London and became principal mezzo at the Royal Opera House in 1963. That same year, she played Flosshilde in Hans Hotter's production of Götterdämmerung at Covent Garden with fellow sopranos Rita Hunter and Birgit Nilsson and conducted by Georg Solti. This was followed by Deliah in Samson and Deliah by Camille Saint-Saëns at Sadler's Wells Theatre. Guy's performances came under criticism for her limited range of vocal colour in her characterisation.

All these parts were sung in German. In April 1909 at the end of his first season in Lübeck, he returned to Stuttgart and showed how he had benefited from the experience. He returned to Lübeck for a second season in Autumn 1909, adding Tannhäuser, Les Huguenots, Die Zauberflöte, Die Entführung aus dem Serail, the Götterdämmerung Siegfried, Naraboth in Salome, The Barber of Seville, and Fredy Wehrburg in The Dollar Princess to his repertoire. He made his May 1910 farewell in Martha.

Mészár was engaged at the Staatstheater Braunschweig in 1995, where he appeared as Sarastro in Mozart's Die Zauberflöte, Don Alfonso in Così fan tutte and Don Basilio in Rossini's Il barbiere di Siviglia, among others. In 1998, he moved to the Theater Münster and in 2007 to the Nationaltheater Weimar. In the production of Wagner's Der Ring des Nibelungen there, he appeared as Fasolt in Das Rheingold, Wotan in Die Walküre, and Hagen in Götterdämmerung. The performances were recorded on DVD in 2008.

She joined the ensemble of the Staatsoper Stuttgart in 1971. She appeared at the Bayreuth Festival first in 1973 as Waltraute in Wagner's Die Walküre and as Gutrune in Götterdämmerung, performing these parts also the following two years. In 1975, she also appeared as Kundry in Parsifal, singing the part also in 1976, 1977 and 1981. She appeared as Fricka in 1977 in the Jahrhundertring, the centenary production of Wagner's Der Ring des Nibelungen staged by Patrice Chéreau and conducted by Pierre Boulez.

The title is derived from the god Heimdallr of Norse mythology, whose call on the Gjallarhorn was to announce the apocalyptic events of Ragnarök ("Fate of the Gods"). The events of Ragnarök were also famously depicted musically in Richard Wagner's opera Götterdämmerung, last of his four-opera cycle Der Ring des Nibelungen.Lindow, p. 37. Rouse had previously visited similar thematic material with his 1997 percussion concerto Der gerettete Alberich, which chronicles the exploits of the villainous dwarf Alberich following the destruction of Valhalla.

In March 2012, she participated in Die Frau ohne Schatten at La Scala under Marc Albrecht. In the fall of 2012, she was at the Royal Opera House in London performing in three Wagner operas conducted by Pappano: the Erda in Siegfried and Rheingold during September and October, and the first norn in Götterdämmerung during October and November 2012. She sang in Dvorak's Requiem under Tomas Netopil in Lyon, and in Mahler's Symphony No. 3 under Sebastian Weigle in Frankfurt am Main.

She appears in these roles in the film Der Ring des Nibelungen. She performed at the festival in 1980 Wellgunde in Götterdämmerung, in 1985 Venus in Tannhäuser and the Third Norn, in 1986 Sieglinde in Die Walküre, in 1987 Ortrud in Lohengrin, and in 2000 Brünnhilde in Der Ring des Nibelungen. Schnaut was a member of the Staatstheater Darmstadt (1978–1980), the Nationaltheater Mannheim (1980–1988), where she performed the part of Ophelia in the premiere of Wolfgang Rihm's Die Hamletmaschine.

Olitzka made her opera debut in 1892, in Brno. She sang at the Court Theatre in Hanover, at the Municipal Theatre in Hamburg, and at the Court Opera in Dresden. At the Royal Opera House in London's Covent Garden, she appeared in Siegfried (1893), Orfeo ed Eurydice (1894), Otello (1895), Lohengrin (1895 and 1907), Faust (1895), Tannhäuser (1895), Die Walküre (1895, 1900, and 1907), Carmen (1897), Götterdämmerung (1900), Rigoletto (1901), and Aida (1905). Olitzka sang at the 1896 funeral of William Steinway, in New York City.

Other Fischer/BFO releases have included Rachmaninoff's Symphony No. 2; a complete Mahler symphony cycle (but excluding the 8th); Tchaikovsky's Symphonies No. 4 & 6; Brahms' Symphonies No. 1, 2 & 4; Beethoven' Symphonies No. 4, 6 & 7; Dvořák's Symphonies No. 7, 8 & 9; excerpts from Wagner's Die Meistersingers and Götterdämmerung; Richard Strauss's Josephslegende; and a release of his own compositions including Spinoza translations and Eine Deutsch-Jiddische Kantate. On DVD, his Glyndebourne performance of Mozart's Così fan tutte was nominated for Gramophone and Grammy Award.

She sang three roles: the Voice of the Mother in Offenbach's The Tales of Hoffmann, the Nurse in Mussorgsky's Boris Godunov, and the Dryade in Richard Strauss's Ariadne auf Naxos. In summer 2012, she sang again with the Bavarian State Opera at the Munich Opera Festival, singing the role of the Second Norn in Richard Wagner's Götterdämmerung. On June 21, 2013, Barton won the Song Prize at the BBC Cardiff Singer of the World competition.BBC News Wales – "Cardiff Singer of the World: Jamie Barton wins song prize".

The sponsor was a retired Prussian officer Friedrich Schröter (1820–1888), a wealthy landowner in nearby Wättrisch. One year after Bismarck's death, German Studentenverbindung fraternities chose one of the designs submitted by the architect Wilhelm Kreis in an 1899 architecture competition. The award-winning Götterdämmerung fire column design of granite or sandstone was selected as a standard model for all Bismarck towers. The massive and squat design could be built to different heights and widths depending on the amount of money donated for the particular monument.

The history of the valley reflects the history of Western Europe. With its many outstanding monuments, its hills full of vines, its settlements crowded on the narrow river banks, and the rows of castles lined up on the hill tops, it is considered the epitome of the Rhine romanticism. It inspired Heinrich Heine to write his famous poem "Lorelei" and Richard Wagner to write his opera Götterdämmerung. The vineyards along the Middle Rhine form the wine-growing region of the same name, see Mittelrhein (wine region).

Thus, Alberich curses love and steals the Rheingold. From the stolen gold he forges a ring of power. Further on in the cycle, the Rhine maidens are seen trying to regain the ring and transform it back into the harmless Rheingold. But no one will return the ring to them; not even the supreme god Wotan, who uses the ring to pay the giants Fasolt and Fafner for building Valhalla, nor the hero Siegfried, when the maidens appear to him in the third act of Götterdämmerung.

Crespin recalls that when she expressed her surprise to Wieland he dismissed the other roles, saying, "Oh, those dummies, I don't like them. Look, you are not born for that, you have a better job to do." Crespin assayed the task and her performance was so well liked that she was invited to sing Kundry again for the 1959 and 1960 Bayreuth Festivals. She returned to the Bayreuth Festival again in 1961 to sing Sieglinde in Wagner's Die Walküre and the third norn in Wagner's Götterdämmerung.

Alice Guszalewicz as Brünnhilde in Wagner's Götterdämmerung Guszalewicz was born in Budapest, and in 1896, at the age of seventeen, married opera singer Eugen Guszalewicz. She studied with her husband and made her debut in 1903 at the Theater of Bern, in Switzerland. In 1905, she sang at the Cologne Opera as the Queen of Sheba in La reine de Saba by Gounod, and as Isolde in Wagner's masterpiece. Shortly after her role in Tristan, she was offered a six-year contract to sing in Cologne.

After further appearances in Frankfurt and Mannheim, Grün was committed to the opera house in Coburg from 1875–1877. Richard Wagner had heard Grün perform in operas in Frankfurt and Mannheim and admired her abilities. He invited her to take part in the inaugural Bayreuth Festival in 1876 in the first presentation of the complete Ring Cycle. She premiered the role of the third Norn in Götterdämmerung on August 17, 1876 and portrayed the role of Fricka in Die Walküre on August 14, 1876.

In the opera Götterdämmerung, part of The Ring Cycle, Hagen is portrayed as the half-brother of Gunther and Gutrune, illegitimately fathered by the dwarf Alberich. He is similarly depicted as evil and cunning, acting under the influence of his father and for his own interests. The great German bass Kurt Moll pointed out that Hagen's music is unique in the bass repertoire: it requires a shouting, blaring vocal technique which risks damaging the singer's voice; only very large-voiced, powerful singers can sing it.

Each of these dramas would, he said, constitute an independent whole, but would not be performed separately. "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". In accordance with this scheme Siegfried's Death, much revised from its original form, eventually became Götterdämmerung (The Twilight of the Gods). It was preceded by the story of Siegfried's youth, Young Siegfried, later renamed Siegfried, itself preceded by Die Walküre (The Valkyrie).

Mayr studied medicine in Vienna before being persuaded by Gustav Mahler to pursue a career as a singer. After studying at the Vienna Music Academy for several years, he made his professional opera début to critical acclaim at the Bayreuth Festival in 1902 as Hagen in Wagner's Götterdämmerung. This led to his being engaged as a principal singer at the Vienna Hofoper by Mahler where he enjoyed a highly successful career that lasted for three decades. His first role in Vienna was Silva in Giuseppe Verdi's Ernani.

In 1996 Wallat was named Honorary Conductor of the . Wallat conducted Wagner's Tristan und Isolde, Siegfried and Parsifal at the . In honour of his 75th birthday, the Konzerthaus Dortmund produced in 2003 and 2004 the Wallat- Ring, a half-scenic performance of the Ring Cycle with international soloists, staged by Ulrich Andreas Vogt and played by the Dortmunder Philharmoniker. He was supposed to receive the German Order of Merit after a performance of Götterdämmerung on 17 October 2004, planned to be conducted by him.

On the basis of this guest-conducting engagement, in June 2018, the Dallas Symphony named Luisi its next music director, effective with the 2020–21 season. He held the title of music director-designate for the 2019–20 season. Luisi has conducted several opera recordings, including Giuseppe Verdi's Aroldo, Jérusalem and Alzira, and Gioacchino Rossini's William Tell. He won a Grammy Award for his leadership of Siegfried and Götterdämmerung on a Deutsche Grammophon DVD release of Richard Wagner’s operatic cycle, Der Ring des Nibelungen.

The same year, Lawrence was stricken with polio and her career was curtailed. On February 22, 1941, Arturo Toscanini conducted Traubel and tenor Lauritz Melchior in excerpts from Wagnerian operas, including act 1, scene 3 of Die Walküre on the live radio broadcast concert of the NBC Symphony Orchestra. RCA Victor later released recordings of excerpts from the concert, as well as a classic studio recording of Traubel in Brünnhilde's Immolation Scene from Götterdämmerung. Traubel later triumphed in Tannhäuser and in Tristan und Isolde.

Born on 18 December 1880 in Lyon, Marie Louise Charbonnel studied music theory, piano and voice at the Lyon Conservatory. At the Lyon Opera, she performed contralto roles in Gluck's Orphée et Euridice, Carmen, Amneris in Aida, and Azucena in Il trovatore. On 24 February 1906 at the Monte Carlo Opera, she played Vanina at the première of Saint-Saëns' L'ancêtre. She also sang at the Paris Opera, playing the First Norn in the French première of Götterdämmerung (1908) and Erda in the première of Das Rheingold.

Two riverboats toured its vicinity, and in 1907, the German authorities had a -high Bismarck tower erected on the Przemsza shore according to the standard Götterdämmerung design by Wilhelm Kreis. As reported in contemporary newspapers, between 3,000 and 8,000 people visited the spot every week. The tripoint was abolished with the establishment of the Polish voivodeships of Kraków and Kielce on the former Austro-Hungarian and Russian territory in 1919. The German territory also fell to the Polish Silesian Voivodeship upon the Upper Silesian plebiscite in 1921.

After her sons were grown and had moved out of the family home, Decker began pursuing a career in opera at the age of 40. She devoted the next two decades of her life to her opera career. She first drew critical notice in 1974 at the Seattle Opera where she appeared in Richard Wagner's Ring Cycle as Erda in both Das Rheingold and Siegfried, Schwertleite in Die Walküre, and the First Norn Götterdämmerung. She portrayed those roles again in Seattle every summer through 1987.

His 1950 performance, at Carnegie Hall, of Mahler's Eighth Symphony, under Leopold Stokowski, was recorded. In 1968, he portrayed Dr Schön in the Stuttgart film of Wieland's production of Lulu, opposite Anja Silja. At the Vienna Staatsoper, Alexander appeared in Arabella (1959 and 1965), Salome (1959), Prince Igor (1960), Götterdämmerung (as Gunther, 1960), Der fliegende Holländer (1964), Lohengrin (as Friedrich von Telramund, 1967), Die Zauberflöte (as the Sprecher, 1967), Prometheus (the name part, 1969), and Penderecki's Die Teufel von Loudon (as Urbain Grandier, 1973).

At the Dortmund theatre, she performed 23 different roles in one season, and in the 1913 season appeared as Waltraute, Erda and Fricka in Wagner's Ring and as Brangäne in his Tristan und Isolde. She married fellow opera singer Karl Wildbrunn (1873–1938) in 1914. Shortly afterwards, they moved to Stuttgart, where she became a member of the Stuttgart Court Opera. Here she developed to a soprano, performing the roles of Rezia, Amelia, Leonore, Brünnhilde in Siegfried and Götterdämmerung, Valentine in Les Huguenots, Kundry and the Marschallin.

Clarke was a member of the English National Opera (ENO) from the 1975/76 season, and sang as a guest at the Royal Opera House. Clarke appeared at the Bayreuth Festival, first in the choir, then from 1976 in all five presentations of the Jahrhundertring, including its DVD recording. She appeared as Helmwige in Die Walküre, and from 1977 to the end also as Third Norn in Götterdämmerung. In 1976, she also appeared as the First Norn with the ENO at the Opera Scotland.

She performed for ten seasons at the Met in a total of 400 performances. She appeared in several United States premieres at the Met, including Lisette in Puccini's La rondine (1928), Aithra in Richard Strauss' Die ägyptische Helena (1928), Yvonne in Ernst Krenek's Jonny spielt auf (1929), Volkhova in Nikolai Rimsky-Korsakov's Sadko (1930), and Sofia in Rossini's Il signor Bruschino. Other roles she sang for the company included Adina in L'elisir d'amore, Alice Ford in Falstaff, Ännchen in Der Freischütz, Berthe in Le prophète, Dorabella in Così fan tutte, Eva in Die Meistersinger von Nürnberg, Fiametta in Boccaccio, the Forest Bird in Siegfried, both Gutrune and the 3rd Norn in Götterdämmerung, Hänsel, Lauretta in Gianni Schicchi, Marguerite in Faust, Marzelline, Mathilde in William Tell, Micaela in Carmen, Musetta in La bohème, Nedda in Pagliacci, Ortlinde in Die Walküre, Pamina in The Magic Flute, Petrita in Von Suppe's Donna Juanita, Princess Eudoxie in La Juive, Serpina in La serva padrona, the Shepherd in Tannhäuser, Sophie in Der Rosenkavalier, Stéphano in Roméo et Juliette, Woglinde in Das Rheingold and Zerlina. Her last performance at the Met was as Woglinde in Götterdämmerung on March 21, 1936.

Sabor p.201 The innovative centenary Bayreuth Ring, directed by Patrice Chéreau, did away altogether with the underwater concept by setting the Rhinemaiden scenes in the lee of a large hydro-electric dam, as part of a 19th-century Industrial Revolution setting for the operas.Holman, p. 381 For the scene with Siegfried in Götterdämmerung, Chéreau altered the perpetual youth aspect of the Rhine Maidens by depicting them as "no longer young girls merrily disporting themselves; they have become tired, grey, careworn, and ungainly".Schürman, Hans (1980), An Annotated Synopsis based on Patrice Chéreau's production of Götterdämmerung, Bayreuth Festival. Published by Phillips as a programme note to 1980 recording of the Festival production. Since this production "the assumption of unrestricted interpretive license has become the norm". For example, Nikolaus Lehnhoff, in his 1987 Bayerische Staatsoper production, placed the Rhinemaidens in a salon and had their lament at the end of Rheingold played on a gramophone by Loge.Sabor p.204 The 1876 premiere cast of the Ring included Lilli Lehmann (centre) as Woglinde. She was the first of many significant singers to play one of the Rhinemaidens.

In 2013, she sang Oscar in Opera Australia's production of Un ballo in maschera directed by La Fura dels Baus."Spain's avant‐garde of the performing arts, La Fura dels Baus, to direct A Masked Ball (Un ballo in maschera) by Giuseppe Verdi", Opera Australia press release"Review: Un Ballo In Maschera (La Fura dels Baus, Opera Australia)" by Clive Paget, Limelight, 17 January 2013 More roles for Opera Australia include Nannetta in Falstaff (2014), Despina in Così fan tutte (2016), Gutrune in Götterdämmerung (2016) and Mother in Metamorphosis (2018).

In honor of the 20th anniversary of the band in 2005 nineteen artists, including the Donots, Die Lokalmatadore, Hennes Bender, Emscherkurve 77 and Mambo Kurt recorded songs of Die Kassierer for a tribute album, also called "Kunst". Bela B. and Rodrigo González from Die Ärzte played under the pseudonym 2 fickende Hunde (2 Fucking Dogs). 4 years before Die Kassierer had played a song for the Die Ärzte- tribute sampler "GötterDÄmmerung". They had transformed the song "Du willst mich küssen" (You want to kiss me) into "Du willst mich fisten" (You want to fist me).

Weigert served on the musical staff of the Bayreuth Festival from 1951-1955. In addition to managing his wife's career, Weigert worked as a guest conductor at numerous German opera houses from 1948-1955; including conducting several performances with his wife in the cast. He notably conducted recordings of his wife portraying the roles of Isolde in Tristan and Isolde, the title role in Salome, and Brünnhilde in Götterdämmerung; the latter of which won the Grand Prix du Disque. Weigert died of a heart attack at the age of 65 in Manhattan.

She was awarded the title Hamburgische Kammersängerin on 21 May 1969 by Rolf Liebermann. She appeared at the Vienna State Opera, first in 1960 as the First Norn in Götterdämmerung, and in 1963 at La Scala in Milan as Iocaste in Stravinsky's Oedipus Rex. She also appeared as a guest at the Royal Opera House in London, in Rome, Venice, Turin, at the Teatro Colón in Buenos Aires, the Chicago Opera, the Liceu in Barcelona, and the Paris Opéra. She sang at the Edinburgh Festival and the Holland Festival.

Born in Saarbrücken, Schmidt studied voice and made her debut at the Saarbrücken Opera as Hänsel in Humperdinck's Hänsel und Gretel. She became a member of the Hessisches Staatstheater Wiesbaden and in 1969 of the Deutsche Oper am Rhein. The same year, she performed at the Staatstheater Nürnberg in the premiere of Isang Yun's opera Träume (Dreams). She toured Japan with the Bayerische Staatsoper in 1974. Schmidt performed at the Bayreuth Festival from 1975, as Wellgunde in Das Rheingold and Götterdämmerung, later also as Grimgerde in Die Walküre and in smaller parts in Parsifal.

He married his second wife, Judy Hosken, an Australian dancer, in 1965. Remedios performed regularly in Australia – he sang in concert performances of Götterdämmerung at the Sydney Opera House in the late 1970s with Rita Hunter, conducted by Sir Charles Mackerras, and sang Lohengrin for Victoria State Opera in 1985 conducted by Richard Divall, in a production by August Everding. His brother Ramon also had a singing career as a tenor; on many occasions they both appeared in performances by English National Opera of The Mastersingers. In 1999 Remedios emigrated to Sydney, Australia.

She performed as a guest at La Scala in Milan several times, including Octavian, Brangäne, Venus in Wagner's Tannhäuser, and the title role of Honegger's Judith. She appeared as a guest at the Vienna State Opera, in Belgium, France, United Kingdom, in Argentina, and the US. In 1959, she studied to be a dramatic soprano. Her roles included the title role of Beethoven's Fidelio, Brünnhilde in Wagner's Der Ring des Nibelungen, and the Marschallin in Der Rosenkavalier. She appeared at the 1966 Bayreuth Festival as the second Norn in Wagner's Götterdämmerung.

During the 1970s and 1980s Barlow maintained an active career working as a freelance artist with companies throughout the world. She sang Freia in Das Rheingold and Sieglinde in Die Walküre for Seattle Opera's productions of Wagner's Ring Cycle from 1970-1972. She returned to Seattle in 1976 to portray Brünnhilde in Götterdämmerung, a role she also sang with the Dallas Opera in 1981. In 1972 she sang the role of Mathilde in the Opera Orchestra of New York's concert performance of Gioachino Rossini's William Tell with Louis Quilico in the title role.

In April 1970, she won first prize in the Kathleen Ferrier Memorial Scholarship. She made her operatic debut in 1971 as Dido in Dido and Aeneas with the Kent Opera. In 1973, she made her US debut with the Houston Grand Opera and her Metropolitan Opera debut was in 2000 as Waltraute (Götterdämmerung). Having made her debut with English National Opera (ENO) in 1975, her performance with the company forty years later, as the Countess in The Queen of Spades, was widely applauded and described as 'mesmerising' and 'astonishing'.

After graduating the Latvian Academy of Culture as a theatre and film director in 1997, Kairish was appointed at the New Riga Theatre as a resident stage director. Since then he has set critically acclaimed plays both in Latvia and abroad. Several of his productions toured international festivals and venues, including the Wiener Festwochen (Hotel Europe), the Hebbel am Ufer (The Serpent), the Festival d’Avignon (Hotel Europe), and the Bonner Biennale (The Dark Deer, Hotel Europe). Moment from Wagner's opera "Götterdämmerung" by Viestur Kairsh at the Latvian National Opera.

At the beginning of the 21st century, the National Theatre has revived the "Mannheim Tradition" with the inauguration of the International Orchestra Academy in Mannheim. Experts in the field of historic instruments and performance and musicians from the orchestra of the National Theatre will work with young musicians and music students. They will teach the special stylistic requirements of orchestral playing in the 18th century. From September 2000, Ádám Fischer was General Music Director of National Theater Mannheim and he completed his term in July 2005 with a performance of Götterdämmerung.

Harvey Sachs, Toscanini The telecasts began on March 20, 1948, with an all-Wagner program, including the Prelude to Act III of Lohengrin; the overture and bacchanale from Tannhäuser; "Forest Murmurs" from Siegfried; "Dawn and Siegfried's Rhine Journey" from Götterdämmerung; and "The Ride of the Valkyries" from Die Walküre. On the very same day that this concert was telecast live, conductor Eugene Ormandy also made his live television concert debut with the Philadelphia Orchestra. They performed Weber's overture to Der Freischutz and Rachmaninoff's Symphony no. 1, which had been recently rediscovered.

Wiener first appeared at the Bayreuth Festival in 1957, and sang there until 1963 as Hans Sachs in Die Meistersinger von Nürnberg, Gunther in Götterdämmerung, Wotan/Wanderer in Der Ring des Nibelungen and in the title-role of Der fliegende Holländer. In 1962 he performed the role of Sachs at both the Royal Opera House, Covent Garden, and the Metropolitan Opera. In 1964, he appeared at the Glyndebourne Festival Opera in the role of La Roche in Capriccio. Wiener was one of the highest and brightest of the successful heldenbaritones of the 1950s and 60s.

The performer of Gunther, for example, was expected to sing leaning forward in Act 1 of Götterdämmerung until he felt his authority challenged by Hagen and sat up straight. It is hard to imagine a greater contrast with traditional operatic acting. Although Wieland is best remembered for productions of his grandfather's works at Bayreuth, he was often asked to work elsewhere in Germany and Europe. For example, he produced Tannhäuser and Der fliegende Holländer in Copenhagen, the Ring in Naples, Stuttgart and Cologne, and Beethoven's Fidelio in Stuttgart, London, Paris and Brussels.

The Damned (Italian title: La caduta degli dei, lit. "The Fall of the Gods") is a 1969 Italian-German historical drama film written and directed by Luchino Visconti. The plot centers on the Essenbecks, a wealthy industrialist family who have begun doing business with the Nazi Party, a thinly veiled reference to the Essen-based Krupp family of steel industrialists. The Italian title is the conventional translation of the term Götterdämmerung (with its Wagnerian association), but for the German version, the title Die Verdammten ("The Damned") was chosen.

Schulte appeared as a guest at the Metropolitan Opera, the Teatro La Fenice, the Gran Teatre del Liceu, among others. He performed at the Bayreuth Festival, beginning in 1988 as the Heerrufer (The King's Herald) in Lohengrin, from 1992 as Wolfram von Eschenbach in Tannhäuser, and in 1998 he stepped in as Gunther in Götterdämmerung, singing but not acting. Throughout his career, he took part in contemporary opera, including premieres. In 1969, he sang in the premiere of Giselher Klebe's Das Märchen von der schönen Lilie at the Schwetzingen Festival in the Schlosstheater Schwetzingen.

He is also discussed in some of the works of James Joyce.Martin (1992) passim Wagnerian themes inhabit T. S. Eliot's The Waste Land, which contains lines from Tristan und Isolde and Götterdämmerung, and Verlaine's poem on Parsifal.Magee (1988) 47 Many of Wagner's concepts, including his speculation about dreams, predated their investigation by Sigmund Freud.Horton (1999) Wagner had publicly analysed the Oedipus myth before Freud was born in terms of its psychological significance, insisting that incestuous desires are natural and normal, and perceptively exhibiting the relationship between sexuality and anxiety.

She was noticed internationally when she performed the alto part in Bach's St Matthew Passion in Vienna in 1955, conducted by Herbert von Karajan. She was identified with the part of Erda in Wagner's Das Rheingold and Siegfried, sung first in 1959 at Covent Garden in London, and repeated at the Vienna State Opera and the Teatro Colón in Buenos Aires until 1975. She sang this role at the Bayreuth Festival 1960 to 1964 and 1967 to 1975, from 1964-1975 also the First Norn in Götterdämmerung. She died in Müllheim/Breisgau.

Wilson spends the remainder of his night with Neff where they have sex. The following morning, a man in a jogging suit rides Ferguson's motorcycle past Wilson as he leaves Neff's apartment. Whittington and Wilson stake out the church, armed with sniper rifles and sound equipment; after Whittington almost blows his ears out by opening a beer can near a parabolic microphone, an animal that appears to be a wolf kills him. Meanwhile, Executive Security apprehends a "Götterdämmerung" terrorist cell in connection with the Van der Veer slaying.

Due to the difficulty of her roles, Vinzing limited her performances to about 35-40 evenings per year. Between 1974 and 1987, Vinzing sang the role of Brünnhilde in more than ten different complete Ring cycles, among others in Wuppertal (1974), Hanover (February 1983; in Die Walküre and Siegfried), Karlsruhe (April 1985, June/July 1988 in Götterdämmerung), Düsseldorf, Hamburg, Berlin (March 1986 in the complete ring cycle, in Die Walküre with "great musical certainty and acting maturity"Ingrid Wanja: DOB BEFORE ASBESTOS. Performance criticism. In: Orpheus. 5 May 1989 issue, .M.Z./J.

The Washington National Opera originally announced plans to perform Der Ring des Nibelungen, a cycle of four operas by Richard Wagner, entitled The American Ring, in November 2009. However, in early November 2008 in view of the Great Recession, the company announced that the full cycle had been postponed. While the first three operas of the tetralogy have already been produced during the previous WNO seasons (Das Rheingold in 2006, Die Walküre in 2007, and Siegfried in 2009), the fourth opera, Götterdämmerung, was given in a concert performance in November 2009.

His discography includes a complete recording of Leevi Madetoja's opera, Juha, with Jorma Hynninen, as well as, for Westminster, Norman Treigle's two recital albums, "Arias from Italian, French and German Opera" (1967) and "Operatic Heroes and Villains" (1968). For the same label, he conducted Beverly Sills' first recital album, "Bellini and Donizetti Heroines" (1968). Among his "pirated" recordings is that of a 1971 Helsinki concert featuring Anja Silja in excerpts from Götterdämmerung and Tristan und Isolde. In stereo, The Sibelius Recordings with two Hungarian orchestras are available from Decca.

At the Salzburg Festival in July and August she was "a voice from above" and a servant in Richard Strauss's Die Frau ohne Schatten under Christian Thielemann. She performed Martha in Tchaikovsky's Iolanta and "death" in Le Rossignol, both under Ivor Bolton. In November 2011 she sang Siegfried's Erda in Leipzig under Ulf Schirmer. In January 2012 Radner made her debut at the Metropolitan Opera in New York City in Götterdämmerung. The production was documented in the film Wagner's Dream by Robert Lepage and the 11 February 2012 performance was recorded and broadcast by radio.

From 1973 she was a member of the Hamburg State Opera, where she sang for more than 30 years. She made her debut at the Bayreuth Festival in 1975 in the role of Floßhilde in Der Ring des Nibelungen and performed there until 1998. In 1976 she was Fricka and Erda in the centenary Ring production of Patrice Chéreau, shown until 1980, recorded for television and published on DVD. In Bayreuth, she sang Brangäne in Tristan und Isolde from 1981 and Waltraute in Götterdämmerung from 1984, as well as Roßweiße and Second Norn in the Ring, and Blumenmädchen and Knappe in Parsifal.

He performed the role of Hans Sachs in Die Meistersinger von Nürnberg at the Musiktheater im Revier in Gelsenkirchen in 1979, which became his signature role. Norup was Der fliegende Holländer at the Vienna State Opera in 1985 and Telramund in Lohengrin at La Fenice in Venice in 1990 and the Liceu in Barcelona in 1992. In 1983, he stepped in at the Bayreuth Festival for the sick Siegmund Nimsgern in the role of the Wanderer in Siegfried, conducted by Georg Solti. The same year, he also appeared there as Gunther in Götterdämmerung, but received rather restrained reviews.

Reynolds first sang at the Metropolitan Opera in 1968-69, as Flosshilde in Wagner's Das Rheingold, and she returned in the 1975 Ring cycle as Fricka in Das Rheingold and Die Walküre, and Waltraute and the Second Norn in Götterdämmerung. At the Bayreuth Festival, she first appeared in 1970 as Fricka and sang regularly through 1976. Also in 1970 she first performed at the Salzburg Festival in the Ring cycle, conducted by Herbert von Karajan. Reynolds recorded in 1958 Bach's Magnificat and Actus Tragicus with Hermann Scherchen conducting Orchestra Sinfonica e Coro di Milano della RAI.

Walter Damrosch attended the performance and approached her afterwards, saying "My child, one day you will be Brünnhilde". In 1940 she sang in productions of The Bartered Bride, Carmen, The Devil and Daniel Webster (opera), Le donne curiose, Faust, and The Gondoliers at the Chautauqua Opera. She also appeared frequently at the Worcester Music Festival during the early 1940s. In 1942 Harshaw won the Metropolitan Opera's "Auditions of the Air" (precursor to the National Council Auditions) which led to her début at that house as the Second Norn in Richard Wagner's Götterdämmerung on November 25, 1942 under the baton of Erich Leinsdorf.

She made her professional debut at the Queen's Hall, Wigan, on 4 October 1935. She then moved back to London to continue her career in Covent Garden London in 1936, but her marriage to Dr Egon Strohm, from a brewing family in the Schwarzwald, took her to Germany. Her career blossomed with performances at Bayreuth and with the Berlin State Opera, but she also made irregular appearances at Covent Garden. She starred as Madalene in 1936, as Flosshilde in Götterdämmerung, as the Shepherd boy in a recording of Tosca with Hildegard Ranczak, but was most famous for her portrayal as Carmen.

In 1959, she wone the Gold Medal at the International Concours de Chant, as well as several other awards during this period of her life. Returning to the UK, she performed in several productions with Sadlers Wells and at the Royal Opera House which included major roles in Götterdämmerung and Die Walküre (Wagner), Mefistofele (Boito), and I Lombardi, Nabucco and Aida (Verdi). She also performed in Ireland for one season with roles in The Tales of Hoffmann (Offenbach), The Marriage of Figaro (Mozart), and La bohème (Puccini). During this period she also sang in Mahler's Eighth Symphony and Nielsen's Saul og David.

Pappano's Essential Ring Cycle is a British television documentary first aired on BBC Four in 2013Observer newspaper article presented by the Italian conductor Antonio Pappano about the German composer Richard Wagner and his tetralogical opera The Ring Cycle, also called by the formal title of Ring of the Niebelung. In 90 minutes he covers all 4 operas consisting of Wagner's Ring Cycle with scenes taken from his productions of the operas. Included in the programme are interviews with opera singers, notably John Tomlinson who has sung the principal character Wotan numerous times. Under Pappano he has sung the Götterdämmerung antagonist, Hagen.

The film has received mixed reviews. Online reviewer DVD Resurrections has said that the film is "fairly good if one is in the right mood", and gave the film 6.5 out of 10. Online reviewer Digital Vampiric Discs has said, "You'll probably find it boring if you're not used to Rollin's style, and even if you are you'll probably have to be in the mood for this one". Götterdämmerung said that it is "an interesting little film that is a bit plodding in places and that requires some patience to decide", and that "nevertheless a rewarding viewing experience".

It was through Sonzogno that Mugnano began to develop his work in operatic seasons in Argentina and elsewhere in South America, where he made a significant impact. In Buenos Aires he gave the first South American Die Meistersinger von Nürnberg (in Italian) in August 1898. He conducted premieres in Uruguay of Die Walküre, Tosca, Zazà, Don Giovanni, Franchetti's Germania, Thaïs and his own Vita Brettona, and in 1910 conducted Götterdämmerung and Gustave Charpentier's Louise.S. Salgado & J. M. Sanguinetti, The Teatro Solis: 150 Years of Opera, Concert and Ballet in Montevideo (Wesleyan University Press, 2003), p. 130.

In those early years of stereo, Culshaw worked with Pierre Monteux in recordings of Stravinsky and Ravel, and with Solti in a recording of Richard Strauss's Arabella. He also recorded the first of many New Year's Day concerts by the Vienna Philharmonic and Willi Boskovsky.Culshaw (1961), pp. 144, 146 and 173 Birgit Nilsson, Culshaw's chosen Brünnhilde By 1958 Decca, with its pre-eminent technical team (The Times called them "Decca's incomparable engineers")"The Götterdämmerung everyone has been waiting for", The Times, 8 May 1965, p. 5 was in a position to embark on a complete studio recording of Wagner's Ring cycle.

She found Italian easier to learn and memorize than German. In the Glen Byam Shaw Ring production, the quality of Hunter's singing and interpretation enabled audiences to set aside her outsize stature (which conformed to all prejudices about Wagnerian sopranos), and few have matched her conviction as Brünnhilde. She made her debut at the New York Metropolitan Opera on 19 December 1972, in Die Walküre, with great success (conductor Erich Leinsdorf and Dame Gwyneth Jones as Sieglinde). She performed the Götterdämmerung Brünnhilde at Covent Garden, and also sang the part of Senta there at short notice.

The core of the story, as indicated by the title, is the end of the influence of supernatural beings from our world with the victory of Christian King Brian over the heathen Vikings. Among the Irish dead is a fey prince whose own death will cause the death of his fairy lover, a metaphor for the waning away of all the Sidhe. Odin himself makes an impressive and doomful appearance, making the battle a Götterdämmerung. This is more Wagnerian in tone than the utter end of the world predicted for Ragnarök, though it is indeed the end of a world.

Max Lorenz can be heard on CD as Tristan,"Tristan und Isolde by Richard Wagner performed in German": Kleiber 1938, Brian Capon's opera discography"Tristan und Isolde by Richard Wagner performed in German": Furtwängler 1941, Brian Capon's opera discography"Tristan und Isolde by Richard Wagner performed in German": Heger 1943, , Brian Capon's opera discography"Tristan und Isolde by Richard Wagner performed in German": de Sabata 1948, Brian Capon's opera discography"Tristan und Isolde by Richard Wagner performed in German": Perlea 1949, Brian Capon's opera discography as Walther von Stolzing, as Siegmund, and as Siegfried (in Götterdämmerung).

Niemann remained with the Berlin opera until 1888, but in the later years of his career he participated in several important tours. In 1882, he appeared as Siegmund in the first London Die Walküre, at Her Majesty's Theatre. In 1883, he was one of the twelve pall-bearers at Wagner's funeral at Wahnfried. From 1886 to 1888 he appeared at the Metropolitan Opera House, as the first American Tristan (December 1, 1886, Anton Seidl, conductor, Lilli Lehmann, IsoldeKobbé 1935, 227.), as Siegfried in the first American Götterdämmerung (January 25, 1888, with Lilli Lehmann as BrünnhildeKobbé 1935, 207.), and in Spontini's opera Fernando Cortez.

Felix von Kraus (October 3, 1870 - October 30, 1937) was an Austrian dramatic bass. Born in Vienna, he received a doctorate in musicology from the University of Vienna in 1894; as a singer, however, he was mainly self-taught. He made his debut at Bayreuth as Hagen in Götterdämmerung in 1899 and was heard thereafter at numerous Bayreuth Festivals and at other opera houses throughout Europe; he specialized in the works of Richard Wagner. In 1908 he became the artistic director of the Munich Opera; that same year he became a professor at the Munich Conservatory.

The giants Fafner and Fasolt demand the ring in payment for building Valhalla, and carry off Freia as a hostage. In Götterdämmerung (the fourth opera in Wagner's cycle), Hagen, the murderer of the hero Siegfried, is the half-human half-dwarf son of Alberich by Grimhilde, a human woman. This detail of Hagen's origin is Wagner's invention, not taken from the myth or epic poems, in which Hagen is an ordinary human being with human parents. Wagner's Alberich is a composite character, mostly based on Alberich from the Nibelungenlied, but also on Andvari from Norse mythology.

Goodwin's work won him a good deal of recognition in the industry, including both the 1973 Shazam Award for Best Writer (Dramatic Division), and the 1974 Shazam Award for Best Writer (Dramatic Division) for the Manhunter series running in Detective Comics #437–443. In the same years, he also won Shazam Awards for Best Individual Short Story for "The Himalayan Incident" in Detective Comics #437 and for "Cathedral Perilous" in Detective Comics #441. In 1974, he also won Best Individual Feature-Length Story for "Götterdämmerung" in Detective Comics #443. All story awards were shared with Walt Simonson for Manhunter episodes).

In 1851 he outlined his purposes in his essay "A Communication to My Friends": "I propose to produce my myth in three complete dramas, preceded by a lengthy Prelude (Vorspiel)". Each of these dramas would, he said, constitute an independent whole, but would not be performed separately. "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". In accordance with this scheme Wagner preceded Siegfried's Death (later Götterdämmerung (The Twilight of the Gods) with the story of Siegfried's youth, Young Siegfried, later renamed Siegfried.

The immediate impetus of the company's founding came when, in 1894, Damrosch presented concert performances of Götterdämmerung and Die Walküre. Damrosch raised money for the company by selling his house in New York City, and he spent the summer of 1894 travelling Europe to recruit singers. Among those with whom he signed contracts were Johanna Gadski and Rosa Sucher, both of whom made their American debuts with the company; others included Max Alvary and Emil Fischer. The company opened its eight-week season in New York with a performance of Tristan und Isolde at the Metropolitan Opera, on February 25, 1895.

Those larger parts which she did get were mostly in more obscure works. During 1961 and 1962 she went back and forth between Europe and the Metropolitan Opera frequently, with her roles at the Met during this period being in Richard Wagner's The Ring Cycle and in reprises of Don Carlo. Her roles in the Ring included the Third Norn and Woglinde in Götterdämmerung, Woglinde in Das Rheingold, Ortlinde in Die Walküre, and the Forest Bird in Siegfried. In 1963 Arroyo's first major break came when she was offered a contract to join the Zurich Opera as a principal soprano.

Her first major critical success was singing the role of Brünnhilde in a concert version of Richard Wagner's Götterdämmerung with the Philadelphia Orchestra under Eugene Ormandy in 1947. As an opera singer, Dow's career was more centered in Europe than in the United States. She was engaged at the Zürich Opera from 1948 to 1950. She was a frequent guest at La Scala during the 1950s and 1960s, singing there Chrysothemis in Richard Strauss's Elektra, Elisabeth in Wagner's Tannhäuser, the title role in La Gioconda, Judith in Bluebeard's Castle, Marie in Wozzeck and Cressida in William Walton's Troilus and Cressida among other roles.

She then sang at the Hannover Court Theatre from 1871 onwards. In 1876 she was part of the Munich Court opera ensemble, and later that year sang at the first Bayreuth Festival in the first full performance of Der Ring des Nibelungen; played the role of Gutrune in the premiere of Götterdämmerung. In addition to Wagnerian roles, she excelled as Norma, Leonora in Fidelio, and Aida; and sang at the premiere of Heinrich Zöllner's Faust in Munich in 1887. She married the composer Hans Bussmeyer (1853–1930) in 1877 and retired from the stage in 1896.

Hagen and three Rhinemaidens in Götterdämmerung (Der Ring des Nibelungen) Richard Wagner was one of the most revolutionary and controversial composers in musical history and his innovations changed the course of opera, not just in Germany and Austria but throughout Europe. Wagner gradually evolved a new concept of opera as a Gesamtkunstwerk (a "complete work of art"), a fusion of music, poetry and painting. His earliest experiments followed the examples set by Weber (Die Feen) and Meyerbeer (Rienzi), but his most important formative influence was probably the symphonic music of Beethoven. Wagner believed his career truly began with Der fliegende Holländer (1843).

Some of the roles she portrayed on stage were Marcellina in Le Nozze di Figaro, Annina, Siegrune in Die Walküre, Flosshilde in Götterdämmerung and Magdalene in Die Meistersinger von Nürnberg. In her later years, Glaz became a celebrated voice teacher and opera director. She taught voice at the Manhattan School of Music from 1956-1977, University of Southern California from 1977-1994, the Aspen Music Festival from 1987-1994, and privately from her homes in New Haven and Los Angeles. Her notable pupils included sopranos Susan Davenny Wyner and Sally Sanford, and mezzos Gail Dubinbaum, Jacalyn Kreitzer, and Cynthia Munzer.

Toscanini conducted the world premieres of many operas, four of which have become part of the standard operatic repertoire: Pagliacci, La bohème, La fanciulla del West and Turandot. He also took an active role in Alfano's completion of Puccini's Turandot.He refused to conduct the section that Alfano composed at the opera's world premiere. He conducted the first Italian performances of Siegfried, Götterdämmerung, Salome, Pelléas et Mélisande, and Euryanthe, as well as the South American premieres of Tristan und Isolde and Madama Butterfly and the North American premieres of Boris Godunov and Dmitri Shostakovich's Symphony No. 7.

Götterdämmerung, Act III Scene III finale The Rhinemaidens are the only prominent characters seen definitely alive at the end of the drama; the fates of a few others are ambiguous, but most have certainly perished.Holman, pp. 399–402 Despite the relative brevity of their roles in the context of the four-opera cycle, they are key figures; their careless guardianship of the gold and their provocation of Alberich are the factors which determine all that follows. Wagner himself devised the "renunciation of love" provision whereby the gold could be stolen and then used to forge a ring with power to rule the world.

In October 2000, she created the title role in another Reimann opera, Bernarda Albas Haus in Munich. She made her Metropolitan Opera debut in 1985 as Marfa in Khovanshchina and subsequently sang Prince Orlofsky in Die Fledermaus (1986), Herodias in Salome, Fricka in Das Rheingold and Die Walküre, Waltraute in Götterdämmerung, and the Nurse Die Frau ohne Schatten (all during the 1989-1990 season). She returned to Met in 1994 for performances as Madame de Croissy in Dialogues des Carmélites and Adelaide in Arabella, and in 1995 as Leocadia Begbick in Rise and Fall of the City of Mahagonny.Met Opera Archives.

She performed in 1969 in Hans Pfitzner's Palestrina another trousers role, Palestrina's pupil Silja. In 1973, she appeared in Benjamin Britten's Owen Wingrave, conducted by George Alexander Albrecht, with Gerhard Faulstich in the title role, Astrid Schirmer as Miss Wingrave, and Theo Altmeyer in supporting roles. She sang in 1977 the parts of Waltraute and Second Norne in Wagner's Götterdämmerung, alongside Herbert Becker and Ute Vinzing. Leading parts included characters by Verdi (Azucena in Der Troubadour, Eboli in Don Carlos) and Wagner (Brangäne in Tristan und Isolde, Ortrud in Lohengrin, Fricka in Die Walküre), and Santuzza in Mascagni's Cavalleria rusticana.

The Wagner's Ring Cycle role of Siegfried — a lengthy, difficult role that very few tenors can sing"Jay Hunter Morris: A New Siegfried for the Ring" – Video interviews of Peter Gelb, Deborah Voigt, Jay Hunter Morris, Robert Lepage, William Berger, John Fisher. PBS. — brought Morris to international attention beginning in the fall of 2011. His introduction to the role came from a 2008 invitation by Speight Jenkins to understudy the part for Siegfried and Götterdämmerung at the Seattle Opera for their 2009 season. He then also understudied the role at the Los Angeles Opera in 2010.

Her career then accelerated, both in opera and on the concert stage. In 1950, Thomas first sang the role of the Dryade in Ariadne auf Naxos at Glyndebourne and the Edinburgh Festival. She also sang Nancy in Albert Herring with Benjamin Britten's English Opera Group at the Cheltenham Festival in 1951. In 1953, she sang the roles of the Rhinemaiden Flosshilde in Das Rheingold and Götterdämmerung and the Valkyrie Rossweisse in Die Walküre in Rudolf Kempe's Covent Garden production of Wagner's ring cycle (also recording these roles) and Magdalena in Rafael Kubelík's Covent Garden production of Die Meistersinger von Nürnberg.

On the 100th anniversary of the Battle of Leipzig in 1913, Ballenstedt's lord mayor, Wendt, proposed the erection of a Bismarck tower. The tower committee that was formed to take this forward, selected the Stahlsberg hill near Opperode as the location and Professor Wilhelm Kreis as the architect. He decided on a tower that was extremely similar to his award-winning Götterdämmerung design. The Bismarck Tower was made of limestone and granite from the nearby Harz Mountains. The laying of the foundation stone was celebrated on 14 June 1914, just before the outbreak of the First World War.

From 1954, Cordes was a member of the Bavarian State Opera in Munich, singing also on major stages in Europe, such as He was named a Bavarian Kammersänger in 1956. In December 1957, he was Ford in Verdi's Falstaff in Berlin when Dietrich Fischer-Dieskau sang the title role for the first time. He appeared at the Bayreuth Festival from 1962 to 1964, as Donner in Das Rheingold and as Gunther in Götterdämmerung in all three years. Cordes was known for leading baritone parts in Italian opera, such as Enrico in Donizetti's Lucia di Lammermoor, the title role in Verdi's Nabucco, Egbert in his Aroldo, and Ford in Falstaff.

Among her many other recordings are Beethoven's Symphony No. 9 with the New York Philharmonic under Bernstein, the First Norn in Götterdämmerung with the Berlin Philharmonic under Herbert von Karajan, and Verdi's Requiem with the Boston Symphony Orchestra under Erich Leinsdorf. On the opera stage Chookasian returned to the Spoleto Festival in 1962 to sing Clarissa in Prokofiev's The Love for Three Oranges. In 1963 she made her first of several appearances at the New York City Opera in the title role of Menotti's The Medium. She made her first appearance at the Bayreuth festival in 1965 singing in three of her Wagner roles: Mary, the First Norn, and Erda.

A scene from Götterdämmerung in the 1976 centenary Ring Cycle at the Bayreuth Festival, with Gwyneth Jones as Brünnhilde In 1976, Chéreau staged Wagner's Der Ring des Nibelungen at the Bayreuth Festival to celebrate the festival's centenary, termed the Jahrhundertring. The production, celebrating 100 years after Wagner's work had been performed for the first time as a cycle at the first Bayreuth Festival, became known as the Jahrhundertring (Centenary Ring). Chéreau collaborated with conductor Pierre Boulez, who had recommended him to the festival direction. The French team revolutionised the understanding of Wagner in Germany, as music critic Eleonore Büning wrote in her obituary in the Frankfurter Allgemeine Zeitung.

In the conclusion of the first opera Das Rheingold, he reveals his hope to turn into fire and destroy Valhalla, and in the final opera Götterdämmerung Valhalla is set alight, destroying the Gods. As the myths tell of Loki changing gender on several occasions, some modern works interpret or depict the deity as genderfluid. In 2008, five black smokers were discovered between Greenland and Norway, the most northerly group so far discovered, and given the name Loki's Castle, as their shape reminded discoverers of a fantasy castle, and (a University of Bergen press release says) "Loki" was "an appropriate name for a field that was so difficult to locate".

First Bismarck Tower in Janówek, Poland (formerly Ober-Johnsdorf, Lower Silesia, Germany), built in 1869 Bismarck Tower in Zielona Góra (formerly Grünberg, Silesia, Germany) 1909 Bismark tower in Jena Illuminated Götterdämmerung tower A Bismarck tower () is a specific type of monument built according to a more or less standard model across Germany to honour its first chancellor, Otto von Bismarck (d. 1898). A total of 234 of these towers were inventoried by Kloss and Seele in 2007Pohlsander, Hans A. National Monuments and Nationalism in 19th Century Germany, Oxford: Lang, 2008, p. 226-227 but more have been discovered since making the total around 240.Bismarcktürme £ Bismarcksäule at www.bismarcktuerme.de.

She drew considerable public notice after an extraordinary performance at Oslo Cathedral which reoriented her path towards a professional musical career. She travelled to Germany for further voice lessons with Paul Lohmann at the Musikhochschule Frankfurt and Franziska Mattienseen-Lohmann in Düsseldorf. In 1956, Bjoner made her first professional appearance singing the role of the Third Norn for a radio broadcast of Richard Wagner's Götterdämmerung produced by the Norwegian Broadcasting Corporation and starring Kirsten Flagstad as Brünnhilde. In 1957 she made her stage debut as Donna Anna in Mozart's Don Giovanni with the Norwegian National Opera; reprising the role later that year for her debut at the Wuppertal Opera.

Born Ruth Schnaudt in Viersen, she studied voice at the Folkwangschule in Essen with her aunt, Anna Erler-Schnaudt. She made her stage debut in Bremen in 1938, but became known especially as a concert singer from 1946. She was a member of the ensemble of the Staatstheater Karlsruhe from 1955 to 1956, and of the Düsseldorf Opera from 1956 to 1959. She performed in Wagner operas at the Bayreuth Festival, first in 1951 the role of Erda in Der Ring des Nibelungen, also the same year Schwertleite in Die Walküre, the First Norne in Götterdämmerung, later also Waltraute and Fricka in The Ring and the alto solo in Parsifal.

She was also a frequent guest at the Vienna State Opera. Her roles there included Ursula in Hindemith's Mathis der Maler and Amelia in Verdi's Un ballo in maschera in 1958, Chrysothemis in Elektra by Richard Strauss in 1960, Venus in Wagner's Tannhäuser in 1972, Kundry in his Parsifal, Brünnhilde in his Die Walküre in 1974, and the title role in von Einem's Der Besuch der alten Dame (opera) in 1980. She appeared at the Bayreuth Festival first in 1951, singing in the choir. From 1965 to 1970, she appeared there as Helmwige in Die Walküre, from 1968 also as the First Norn in Götterdämmerung.

During the 1980s WNO continued to expand in scope. Handel (Rodelinda, 1981) and Martinů (The Greek Passion, 1981) were added to the company's repertoire, and in 1983 Das Rheingold was staged in the WNO's first Ring cycle, followed by the other three operas of the cycle over the next two years. Das Rheingold, Siegfried and Götterdämmerung were conducted by the company's musical director, Richard Armstrong; Die Walküre (1984) was conducted by Goodall; it was seen as a coup for the company to secure his services – he was described by The Guardian as the greatest living Wagnerian conductorSutcliffe, Tom. "The return of the Ring-master", The Guardian, 20 February 1984, p.

The home of Richard Wagner; now a museum Tribschen (also seen as Triebschen) is a district of the city of Lucerne, in the Canton of Lucerne in central Switzerland. Tribschen is best known today as the home of the German composer Richard Wagner from 30 March 1866 to 22 April 1872. When Wagner was obliged to leave Munich in March 1866, he moved to a spacious villa in Tribschen on a headland projecting into Lake Lucerne. It was while he was living here that Wagner completed the score of Die Meistersinger von Nürnberg, composed his "Emperor March" and the third act of Siegfried, and began Götterdämmerung.

Other Wagner roles he has sung at various opera houses include Tristan in Tristan und Isolde, Siegfried in Götterdämmerung and the title roles in Tannhäuser and Lohengrin. Other roles have included Admete in Gluck's Alceste, Herod in Strauss' Salome, the title role in Berlioz' La damnation de Faust and concert performances of Beethoven's Ninth Symphony and Gustav Mahler's Lied von der Erde. Besides Siegmund, he has recorded the roles of Bacchus in Strauss' Ariadne auf Naxos and Aeneas in Les Troyens, and also albums of Irish songs and ballads (in English). He appeared on The Tonight Show with Jay Leno on January 14, 1993.

He invited her to take part in the first presentation of the complete Ring Cycle at the Bayreuth Festival in 1876. At the festival she premiered the role of the second Norn in Wagner's Götterdämmerung on 17 August 1876 and sang the role of Sieglinde in Wagner's Die Walküre on 14 August 14, 1876. In 1882 Schefsky portrayed Magdalena in the United Kingdom premiere of Wagner's Die Meistersinger von Nürnberg at the Theatre Royal, Drury Lane in London under the direction of Hans Richter. After leaving the employ of the Bavarian State Opera in 1883, she sang at the Opéra national du Rhin and the Vienna State Opera in 1883/84.

She also portrayed Violetta at the Met in performances opposite both George Shirley and Charles Anthony in the role of Alfredo. Her last performance with the company was on December 4, 1963 as Gutrune in Wagner's Götterdämmerung with Birgit Nilsson as Brünnhilde, Hans Hopf as Siegfried, and Walter Cassel as Gunther.Metropolitan Opera Archives One of the last opera performances of her career was as Desdemona in Verdi's Otello with the Philadelphia Grand Opera Company opposite Mario Del Monaco in the title role in 1964. Yeend retired from the stage in 1966 when she joined the faculty of West Virginia University as Professor of Voice/Artist in Residence.

Her Brünnhilde was considered especially fine, not only for her splendid vocalisation but also for her stature and handsome appearance. Returning to Europe she performed these roles at Bayreuth, and added to them the second Brünnhilde (Götterdämmerung) and Fricka in Das Rheingold. In America Marie Brema sang Brangäne in a German Tristan in a cast with Lillian Nordica as Isolde, Jean de Reszke as Tristan and brother Edouard as King Mark, and also in The Ring, performances under the direction of Anton Seidl and Felix Mottl. During the 1898–99 season at the Met she sang Fides in Meyerbeer's Le prophète opposite both de Reszkes and Lilli Lehmann.

Wagner family home, Haus Wahnfried The town is best known for its association with the composer Richard Wagner, who lived in Bayreuth from 1872 until his death in 1883. Wagner's villa, "Wahnfried", was constructed in Bayreuth under the sponsorship of King Ludwig II of Bavaria and was converted after World War II into a Wagner Museum. In the northern part of Bayreuth is the Festival Hall, an opera house specially constructed for and exclusively devoted to the performance of Wagner's operas. The premieres of the final two works of Wagner's Ring Cycle ("Siegfried" and "Götterdämmerung"); the cycle as a whole; and of Parsifal took place here.

Despite his lack of raw vocal power, Coates was still considered to be among the finest of English Wagnerian tenors, especially as Siegfried and Tristan, owing to the strength of his musicianship, his evident intelligence and his impressive deportment on stage. Before the First World War, he also appeared in London as Lohengrin, Tannhäuser as well as Tristan. He sang often in Wagner concerts and appeared as Parsifal in concert performances of the opera. He sang Lohengrin at Cologne, too, and in 1911, performed the Siegfrieds of both Siegfried and Götterdämmerung for the Denhof Opera Company under Sir Thomas Beecham, appearing opposite the Wotan of Frederic Austin.

", p. 55. "Virtuous paganism" became relevant to Romanticism with its interest in North European mythology or enthusiasm for the rediscovered pagan ethos of the Icelandic sagas. Tom Shippey argues that the fiction of J. R. R. Tolkien is significantly based on such a concept of virtuous paganism: > Tolkien was "rather disturbed by [an Armageddon which the wrong side wins > (Ragnarök)]: he saw that the ethos it represented could be used by either > side, as indeed it was in the deliberate cultivation of Götterdämmerung by > the Nazi leadership a few years later. Nevertheless it did provide an image > of heroic virtue which could exist, and could be admired, outside the > Christian framework.

Following Siegfried Wagner's death in August 1930, a memorial concert was held in the Festspielhaus. The concert programme was framed by two pieces by Richard Wagner that commemorated Siegfried's birth and death; the opening piece, the Siegfried Idyll, conducted by Arturo Toscanini, and to close, Siegfried's Funeral March' from Götterdämmerung, conducted by Muck. The centrepiece of the concert was conducted by Elmendorff, and commemorated Siegfried's own 'modest genius' with excerpts from his operas including the overture to Angel of Peace and 'Faith' from Heathen King. During the 1931 Festival a memorial concert was planned to take place on 4 August, the first anniversary of Siegfried's death.

An illustration from a 1919 Austrian postcard showing a caricatured Jew stabbing the German Army in the back with a dagger. The capitulation was blamed upon the unpatriotic populace, the Socialists, Bolsheviks, the Weimar Republic, and especially the Jews. An 1847 painting by Julius Schnorr von Carolsfeld of a scene from the epic poem Nibelungenlied ("Song of the Nibelungs") - which was the basis for Richard Wagner's opera Götterdämmerung: Hagen takes aim at Siegfried's back with a spear. Category:Society and social science templates Category:Jews and Judaism templates The stab-in-the-back myth (, , ) was an antisemitic conspiracy theory, widely believed and promulgated in right-wing circles in Germany after 1918.

Megaherz would also mention that the new album will feature 11 songs, and that one of the new songs will become available for download in October 2011. Megaherz went on tour with Subway to Sally and Letzte Instanz in December 2011 before embarking on their own national tour in early 2012 to promote the new album. The first single, "Jagdzeit", was released on 23 December 2011. The new album, Götterdämmerung, was released on 20 January 2012, and hit the German Media Control Charts at No. 19\. Megaherz played at Wacken Open Air festival on 2 August, as well as Mera Luna Festival on 11 August 2012.

Götterdämmerung tells the Rhinemaidens: "If you threaten my life, hardly you'll win from my hand the ring". The composer Richard Wagner wrote a series of four operas titled Der Ring des Nibelungen which present his version of the story told in The Nibelungenlied and in Volsunga Saga, as well as the Prose Edda. The operas are more often called The Wagner Ring Cycle in English. In this cycle, the ring of the Nibelung ultimately brings about the downfall of the old gods as Brünnhilde returns the ring, which confers power, back to the Rhinemaidens from whom its gold was stolen in the first place.

The company presented its first presentation of Richard Wagner's complete Der Ring des Nibelungen in the summer of 2010. New productions of Das Rheingold and Die Walküre were performed in early 2009, followed by Siegfried (September-October 2009) and Götterdämmerung (April 2010). Three full cycles were produced from May 29 through June 26, 2010, accompanied by the citywide Ring Festival LA. The innovative production was directed and designed by German theater artist Achim Freyer and conducted by James Conlon. The principal artists included Linda Watson, Vitalij Kowaljow, Michelle DeYoung, Plácido Domingo, John Treleaven, Graham Clark, Richard Paul Fink, Eric Halfvarson, Alan Held and Jennifer Wilson, among others.

Play bill of the last performance in the old building: Götterdämmerung, 30 June 1944 Towards the end of World War II, on 12 March 1945, the opera was set alight by an American bombardment. The front section, which had been walled off as a precaution, remained intact including the foyer, with frescoes by Moritz von Schwind, the main stairways, the vestibule and the tea room. The auditorium and stage were, however, destroyed by flames as well as almost the entire décor and props for more than 120 operas with around 150,000 costumes. The State Opera was temporarily housed at the Theater an der Wien and at the Vienna Volksoper.

Kupfer and conductor Rolf Reuter helped her, with assigning her the title role in the world premiere of Siegfried Matthus' opera Judith at the Komische Oper on 28 September 1985, to receive a special prize of the Ministry of Culture in the GDR. Towards the end of her time at the Komische Oper she sang the title role of Salome by Richard Strauss. She appeared the title role of Janáček's Jenůfa at the restored Staatsoper in 1986, toures as Senta in Wagner's Der fliegende Holländer, and later as Gutrune in Wagner's Götterdämmerung at the Bayreuth Festival. In 1988 Bundschuh appeared as Isolde in Wagner's Tristan und Isolde.

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, has no interval and is one continuous piece of music typically lasting around 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.

A pack of Camel cigarettes and a photo of the Albanian King Zog is shown on a table, while the adjutant seeks the leaders' support for the King's policies. After them Besian Vorpsi gets received in. The adjutant demands Besian as an influential writer, to go to the north and assure the local prince of the King's support and inviolability of the Kanun. Besian is firstly reluctant to obey since he is getting married in few days, but the adjutant convinces him to spend the honeymoon there and simultaneously do the job. Couples are shown dancing under a dim light and Siegfried's Funeral March of Wagner’s Götterdämmerung is playing in the background.

After Puccini and Rossini operas in Graz, Leipzig and Basel, Konwitschny turned to Wagner: Parsifal (1995, Bavarian State Opera), Tannhäuser (1997, Dresden Semperoper), Lohengrin (1998, Hamburg State Opera), Tristan und Isolde (1998, Bavarian State Opera), and a highly acclaimed Götterdämmerung (2000, Staatsoper Stuttgart). After Lohengrin, Konwitschny returned to Hamburg to cooperate with the conductor Ingo Metzmacher on Alban Berg's Lulu, Richard Wagner's Die Meistersinger von Nürnberg, and Arnold Schoenberg's Moses und Aron. In 2004 he directed Wagner's The Flying Dutchman at the Bolshoi Theatre in Moscow, in 2005 Richard Strauss' Elektra in Copenhagen and in 2009 Strauss' Salome in Amsterdam. Since August 2008, Konwitschny is principal director of productions at the Leipzig Opera.

Born in Weiden, Upper Palatinate, Schiml studied at the Musikhochschule München with . She received a scholarship from Deutsche Grammophon. At the Salzburg Festival, she appeared in 1970 as Erste Dame in Mozart's Die Zauberflöte, in 1972 as Cherubino in his Le nozze di Figaro, conducted by Herbert von Karajan, and in 1984 and 1985 in scenic performances of Bach's St Matthew Passion. At the Bayreuth Festival, she performed several parts in the centenary production Jahrhundertring of Wagner's Der Ring des Nibelungen, directed by Patrice Chéreau and conducted by Pierre Boulez. She performed first in 1978 the part of the Rhinemaiden Floßhilde in Das Rheingold and Götterdämmerung, and from 1979 the valkyrie Siegrune in Die Walküre.

She may have performed briefly in 1931 with the State Academic Opera and Ballet Theater or been detained in a camp after her husband had been shot. While performing, between 1918 and 1922, Antarova took acting classes from Konstantin Stanislavski at the Opera Studio of the Bolshoi Theatre. She also performed in concerts, with solos in works such as Petite messe solennelle by Gioachino Rossini and Vier ernste Gesänge by Johannes Brahms. Some of her most noted roles were as Lel in Nikolai Rimsky-Korsakov's The Snow Maiden; Vanya in A Life for the Tsar by Glinka; Floshildy in Richard Wagner's Das Rheingold and Götterdämmerung; and as the Countess in Tchaikovsky's The Queen of Spades, among many others.

He quickly established himself as one of the leading heldentenors of his generation, in roles such as Siegmund in Die Walküre, Siegfried in Siegfried and Götterdämmerung, Walther von Stolzing in Die Meistersinger von Nürnberg and Tristan in Tristan und Isolde. Besides Wagner, he also sang such roles as Max in Der Freischütz, Steva in Jenůfa, Canio in Pagliacci, and the title role in Otello. On the international scene, he made guest appearances at La Scala in Milan, La Monnaie in Brussels, the Royal Opera House in London, the Teatro Colón in Buenos Aires, the Metropolitan Opera in New York, also appearing in Leningrad and Moscow. He sang at the Deutsche Oper Berlin from 1961 until his retirement in 1972.

The performance was, however, broadcast nationwide on the Met's weekly syndicated radio program, and the first inkling of the deluge of critical praise to come was given when intermission host and former Met star Geraldine Farrar discarded her prepared notes, overwhelmed by what she had just heard, and breathlessly announced that a new star had just been born. Days later, Flagstad sang Isolde, and later that month, she performed Brünnhilde in Die Walküre and Götterdämmerung for the first time. Before the end of the season, Flagstad sang Elsa in Lohengrin, Elisabeth in Tannhäuser, and her first Kundry in Parsifal. Almost overnight, she had established herself as the pre-eminent Wagnerian soprano of the era.

Retrieved 28 September 2018 The conductor of the Proms, Sir Henry Wood, wrote of her charm, and praised her singing: "Not only had her voice a great brilliance, but she had the power to dominate an orchestra whether she sang an aria from the Messiah or a scene from Götterdämmerung".Wood, pp. 254–255 She sang at the major British music festivals, mostly in oratorios. In her early years as a singer Tubb made a small number of recordings, which include "Ocean, thou mighty monster" from Weber's Oberon; Arensky's "Dream Waltz"; excerpts from Mendelssohn's Elijah; and from Sullivan's The Golden Legend; and popular ballads such as "Queen of the Roses; Lilac Time", "Gretna Green" and "Red rose of England".

Like many musicians of his generation, Holst came under Wagner's spell. He had recoiled from the music of Götterdämmerung when he heard it at Covent Garden in 1892, but encouraged by his friend and fellow-student Fritz Hart he persevered and quickly became an ardent Wagnerite. Wagner supplanted Sullivan as the main influence on his music,; and and for some time, as Imogen put it, "ill- assimilated wisps of Tristan inserted themselves on nearly every page of his own songs and overtures." Stanford admired some of Wagner's works, and had in his earlier years been influenced by him, but Holst's sub-Wagnerian compositions met with his disapprobation: "It won't do, me boy; it won't do".

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.Millington, (n.d.) The libretto arose from Wagner's gradual reconception of the project he had initiated with his libretto Siegfrieds Tod (Siegfried's Death) which was eventually to be incarnated as Götterdämmerung, the final section of the Ring cycle. Having grappled with his text for Siegfrieds Tod, and indeed having undertaken some musical sketches for it during 1851, he realized that it would need a 'preface'.

Ragnarök is an important event in Norse mythology and has been the subject of scholarly discourse and theory in the history of Germanic studies and is attested primarily in the Poetic Edda, compiled in the 13th century from earlier traditional sources and the Prose Edda, written in the 13th century by Snorri Sturluson. In the Prose Edda and in a single poem in the Poetic Edda, the event is referred to as Ragnarök or Ragnarøkkr (), a usage popularised by 19th-century composer Richard Wagner with the title of the last of his Der Ring des Nibelungen operas, Götterdämmerung (1876), which is "Twilight of the Gods" in German. There are various theories and interpretations of Ragnarök.

Born in Strasbourg, Hoerner won First prizes in singing and lyrical art at the Conservatoire de Paris, and made her debut at the Paris Opera in 1929 in Wagner's Die Walküre. She distinguished herself in the great Wagnerian roles, Elsa (Lohengrin), Elisabeth (Tannhäuser), Gutrune (Götterdämmerung) and Senta (Der Fliegende Holländer) which she created at the Palais Garnier. Then she turned to the Italian bel canto, notably in the title role of Verdi's Aida, and Desdémone in Otello. She approached the French repertoire with Marguerite in Berlioz's La Damnation de Faust, Valentine in Meyerbeer's Les Huguenots, Brunehild in Reyer's Sigurd, Bonté in Magnard's Guercœur, returned to the Germanic repertoire with Léonore in Beethoven's Fidelio, la Maréchale in Strauss's Der Rosenkavalier.

She has since returned to Seattle frequently, portraying such roles as Amneris, Dame Quickly, Isabella in L'italiana in Algeri, Waltraute in Götterdämmerung, and the title role in Bizet's Carmen. In 2002 she made her debut at the Santa Fe Opera as Isabella in L'italiana in Algeri.Santa Fe Opera archives 2002 In November 2006, she starred in the world premiere of The Sailor-Boy and the Falcon, an opera based on "The Sailor-Boy's Tale" by Isak Dinesen. The work of SUNY Potsdam professors Paul Siskind (music) and Alan Steinberg (libretto), the opera was performed at the Sara M. Snell Theater of the Crane School of Music by the Crane School's Opera Ensemble.

Among other, she sang there as Annina in Strauss' Der Rosenkavalier, as Wellgundein Wagner's Götterdämmerung, as "Elfe" in Dvořáks's Rusalka, as "Jenny" in Weill's Rise and Fall of the City of Mahagonny as "Marcellina" in Mozart's The marriage of Figaro. She also took part in the children's opera Pollicino by Hans Werner Henze. Guest appearances have taken her to De Nationale Opera in Amsterdam, the Theater Basel, the Komische Oper Berlin, the Théâtre Royal de la Monnaie, the Semperoper, the Grand Théâtre de Genève, the Opernhaus Graz, the Hamburgische Staatsoper, the Cologne Opera, the Leipzig Opera, the Opéra National de Lyon and the Bayerische Staatsoper in Munich. She also performed at the Dresden Music Festival and the Lucerne Festival.

The final Götterdämmerung draws from the 12th-century German poem, the Nibelungenlied, which appears to have been the original inspiration for the Ring.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. The Ring has been the subject of myriad interpretations.

He is also shown to have a rivalry with Nikola Tesla. He is one of the leaders of Theosophical Society, a faction that is fighting the Celtic army but also having a conflict with Geronimo's faction, along with Helena Blavatsky and Karna, but later worked together with Geronimo's faction. ; / – / – : :Appearing in E Pluribus Unum as an ally, later as the main antagonist of Götterdämmerung, Scáthach is a Lancer-class servant summoned in the grand order during A.D 1783. Due to her immortality, she herself cannot be summoned in a standard Holy Grail War as she is cursed to live for thousands of years until her death when the Dunscaith Castle is completely burned down by Solomon.

At the beginning of the 1980s, Goldberg sang the important tenor parts of operas by Richard Wagner in nearly all leading opera houses in Europe and worldwide however his Bayreuth career started ignominiously. In 1983 Goldberg was contracted to sing both Siegfried Roles in the new production of the Ring Cycle at the Bayreuth Festival conducted by Sir Georg Solti and produced by Sir Peter Hall. This turned into a personal disaster for him as he could not learn the roles in time and was replaced shortly before the first performances. He would be invited back to Bayreuth in 1986 to sing Tannhäuser, Walther in Die Meistersinger in 1987 and in 1988 for Walther again and the Götterdämmerung Siegfried.

In May 1872 Johanna fulfilled a promise to her uncle Richard Wagner, singing alto in the solo quartet in the performance of Beethoven's 9th Symphony at the foundation-stone laying of the Bayreuth Festspielhaus. She also participated in the first Bayreuth Festival of 1876, taking the role of Schwertleite in Die Walküre and First Norn in Götterdämmerung in the original first full production of Der Ring des Nibelungen. She was not now capable of Brünnhild as originally intended, but as the Valkyr, her dramatic control of the scenes, and the energy she infused into them, in rehearsal and performance, realised the composer's true intentions, and set a precedent which was later imitated. Her Norn similarly was invested with her full dramatic resources.

They worked together in Chéreau's first theatre, the Théâtre de Sartrouville, from 1966, in a team with together with stage designer Richard Peduzzi and costume designer Jacques Schmidt. Götterdämmerung, part of the Ring Cycle, in the centenary production at the Bayreuth Festival, conducted by Pierre Boulez and staged by Patrice Chéreau, with Gwyneth Jones as Brünnhilde As part of this team, he designed the lighting for the Jahrhundertring (Centenary Ring), the production of Richard Wagner's Ring Cycle, Der Ring des Nibelungen, at the Bayreuth Festival celebrating the centenary of the festival and the cycle. In 1992, he designed the lighting for at the opening and closing ceremony of the 1992 Winter Olympics in Albertville. He has collaborated with other directors, including , , Roger Planchon, and Jacques Weber.

She sang Wagner roles also at major opera houses in Europe: at the Royal Opera House in London Erda and Fricka, at La Scala in Milan Waltraute in Götterdämmerung and Erda, at the Teatro San Carlo in Naples Erda and Fricka, at the Teatro Nuovo di Torino and at the Teatro Comunale di Bologna Erda, and at La Fenice in Venice Erda and Waltraute. She appeared as Erda, Fricka and Waltraute at the Ring Cycle of the Maggio Musicale Fiorentino. She performed Wagner roles also in Paris, Bordeaux, Nancy, Nizza and Toulouse, at La Monnaie in Brussels (Erda) and the Liceu in Barcelona. She was known as an oratorio singer, and performed Lieder by Yrjö Kilpinen, in collaboration with the composer.

He appeared as Don Pizarro in Beethoven's Fidelio, as Kurwenal in Wagner's Tristan und Isolde and as Dr. Schön in Alban Berg's Lulu. Faithful to the idea of ensemble theatre, he also took small roles. He was an outstanding actor, adding fine humour to Wagner's Beckmesser in Die Meistersinger von Nürnberg, which he first performed in 1979, and played a cynical Albert in Massenet's Werther and Gunther as a coward in Wagner's Götterdämmerung, part of the Ring Cycle production by Nikolaus Lehnhoff. He took part in world premieres at the house, as Hoango in Werner Egk's Die Verlobung in San Domingo in 1963, and in works by Günter Bialas, Wolfgang Fortner, Manfred Trojahn and Aribert Reimann, whose writing for voices he found exceptional.

For her performance of Erda (Rheingold, Siegfried) and First Norn (Götterdämmerung) in this production she was awarded 1982 a Grammy as "a Principal Soloist". Ortrun Wenkel in Miami Wenkel appeared at many important opera houses of the world (Deutsche Oper Berlin, Opéra Garnier Paris, Milan Scala, Royal Opera London, as well as Rome, the opera houses of Munich, Stuttgart, Zurich, Geneva, Lisboa, Venice, Prague, among others), concert halls include the Berlin Philharmonie, Concertgebouw Amsterdam, Accademia di Santa Cecilia Rome, Teatro Colón Buenos Aires, Kennedy Center Washington and Carnegie Hall New York. During the 1980s, she appeared repeatedly in Marcel Prawy's TV productions ' and '. Since her concert debut 1964, Wenkel is continuously performing, and she worked with many of the most prominent conductors, e. g.

As a Gerdine Young Artist at the Opera Theatre of St. Louis, she performed as Stéphano in Gounod's Roméo et Juliette, Rosina in Rossini's Il Barbiere di Siviglia, and Mercédès in Bizet's Carmen. As part of the Metropolitan Opera's Lindemann program, she made her debut as Javotte in Massenet's Manon, and also played Tebaldo in Verdi's Don Carlos and Siebel in Gounod's Faust. As a company member, starting in 2007, she has played Cherubino in Mozart's Nozze di Figaro, Stéphano in Gounod's Roméo et Juliette, the Madrigal Singer in Puccini's Manon Lescaut, Second Lady in Mozart's The Magic Flute (English version), Kitchen Boy in Dvořák's Rusalka, Wellgunde in Wagner's Das Rheingold and Götterdämmerung, Annio in Mozart's La Clemenza di TitoMozart. La Clemenza di Tito.

1908 saw much oratorio, with Handel's Messiah (Wood, Queen's Hall), Gerontius (with Coates, Manchester, under Richter), Elgar's King Olaf (Norwich Festival), Judas in The Apostles (Liverpool), Bach's Phoebus and Pan (Queen's Hall), and Coleridge-Taylor's Hiawatha's Wedding Feast. His first Covent Garden lead appearance was Gunther (Götterdämmerung) in Richter's English Ring cycle, repeated three times in February 1909. Late in 1908 he and Cyril Scott gave a recital of Scott's songs at the Bechstein Hall. At the Sheffield Festival of 1908 he was exceptionally busy, with performances of Samson and Delilah, Schumann's Paradise and the Peri, Sir Walford Davies' Everyman, Beethoven's Choral Symphony, and Debussy's L'Enfant Prodigue, specially re-scored by the composer, and delivered under Henry Wood with Austin, Agnes Nicholls, and the tenor Felix Senius.

In December 2010, Voigt returned to the Met as Minnie in the 100th anniversary production of the world premiere of Puccini's La fanciulla del West. She reprised this rôle at the Lyric Opera of Chicago in January 2011 and at the Opéra Royal de Wallonie in Liège in February 2013. In April 2011, Voigt sang her first Brünnhilde at the Metropolitan Opera in Canadian stage director Robert Lepage's new production of Die Walküre, the second installment of the Met's highly publicized new production of Wagner's Ring Cycle directed by Lepage. She sang the role again as the cycle was presented in its entirety during the 2011-12 season, adding to her repertoire the final two operas of the cycle, Siegfried and Götterdämmerung.

He divides his time between the opera and the symphonic concert, where the traditional repertoire blends with the contemporary one. He directed the creation of Jean Prodromidès's Goya in Montpellier and Marseille; the French premiere of Britten's Owen Wingrave (at the Opéra du Rhin). He directed Lucia di Lammermoor and Madame Butterfly in Rouen, The Tales of Hoffmann and Aida in Dublin, The Merry Widow in Toulouse, Tosca in Nancy, Fauré's Pénélope and Eugene Oneguin in Rennes, Siegfried and Götterdämmerung in Marseille, Goldmark's Die Königin von Saba at the Wexford Festival Opera, Carmen at the Peking opera, Pénélope in Lausanne, Verdi's Requiem in Metz with the . In the summer of 1999, he was the guest of the Edinburgh Festival with the Scottish Chamber Orchestra.

Born on 23 July 1884 at Oloron-Sainte-Marie in south-western France, Catherine Julie Lapeyrette studied at the Paris Conservatory under Jean Ernest Masson, Amédée Louis Hettich and Max Bouvet. In 1908 at the Paris Opera, after her début as Dalila in Camille Saint-Saëns' Samson et Dalila, she went on to sing in the premières of Wagner's Götterdämmerung (1908), Rheingold (1909) and Parsifal (1914). Lapeyrette also appeared at the Opéra-Comique in December 1918 as Amaranthe in Charles Lecocq's La fille de Madame Angot and played Marthe in Charles Gounod's Faust. In 1923, she appeared as Annina in the French première of Der Rosenkavalier, in 1921 in that of Gabriel Dupont's Antar and in 1923 in that of Albert Roussel's Padmâvatî.

There were no Toscanini telecasts in 1950, but they resumed from Carnegie Hall on November 3, 1951, with Weber's overture to Euryanthe and Brahms' Symphony No. 1. On December 29, 1951, there was another all-Wagner program that included the two excerpts from Siegfried and Die Walküre featured on the March 1948 telecast, plus the Prelude to Act II of Lohengrin; the Prelude and Liebestod from Tristan und Isolde; and "Siegfried's Death and Funeral Music" from Götterdämmerung. On March 15, 1952, Toscanini conducted the Symphonic Interlude from Franck's Rédemption; Sibelius's En saga; Debussy's "Nuages" and "Fêtes" from Nocturnes; and the overture of Rossini's William Tell. The final live Toscanini telecast, on March 22, 1952, included Beethoven's Symphony No. 5, and Respighi's Pines of Rome.

Science fiction author Orson Scott Card, reviewing several Diana Wynne Jones reissues in The Magazine of Fantasy & Science Fiction, wrote > Eight Days of Luke takes us into the world of the Nordic gods, as both sides > in the intensely amoral struggle prepare for Götterdämmerung. Yet she > manages to connect their quarrels and manoeuvres with contemporary life, > including giving Thor a leather-jacket gang in a pinball arcade and putting > one-eyed Wutan in a business suit. And our hero's passage from "real" to > fantasy world and back again is as smooth as in the best of contemporary > fantasists – Charles de Lint, for instance, or Megan Lindholm, or Lisa > Goldstein. Yet Eight Days of Luke bears a 1975 copyright, predating these > others by years.

Charles Cahier who had sung Carmen at the Vienna Court Opera between 1907 and 1911. Funded by Schalk and Richard Strauss, she gave her first song recital in the Grand Musikverein in Vienna in the same season . After her debut, she sang first as Cherubino in Mozart's opera Le nozze di Figaro, then as Dorabella in the opera Così fan tutte (in this role she also appeared in one of the first opera performances of the Salzburg Festival). Since her voice became increasingly voluminous in a very short time, she took more and more roles in French and Italian opera in her repertoire and sang in Verdi's opera Aida, the figure of Waltraute in Wagner's opera Götterdämmerung and the role of Brangäne in Tristan and Isolde.

During this period he made several guest appearances at the Oper Frankfurt, where he made a strong impression in the Verdi spinto roles of Manrico and Riccardo. During the war he sang in a number of German provincial houses, and from 1944 to 1952 he was a member of the Dresden Semperoper, where he developed into a Heldentenor. He first appeared at the Bayreuth Festspielhaus in 1951 as Siegfried in "Der Ring des Nibelungen" under both Knappertsbusch and Karajan, and returned there to repeat the role several times until 1957. He appeared in Bavarian State Opera Munich between 1950 and 1958 in operas by Weber and Verdi, and in Richard Strauss's Die ägyptische Helena, and sang Siegfried in Götterdämmerung at Covent Garden in 1957.

LOS ANGELES OPERA REVIEW – A 'Rosenkavalier' Without Ham and Schmaltz? – Review – NYTimes.com and Israeli Opera Tel Aviv, 2006;"Der Ring des Nibelungen, part I, Rheingold und Walküre", choreographic theatre after Richard Wagner, (director, choreographer: Johann Kresnik), Oper Bonn, 2006; "Der Ring des Nibelungen", part II, Siegfried and Götterdämmerung, director, choreographer: Johann Kresnik), Oper Bonn, 2008, "The Child Dreams", by Hanoch Levin, composer: Gil Shohat, directed by Omri Nitzan, Israeli Opera, Tel Aviv, 2009/2010, "Die 120 Tage von Sodom" ("Salò, or the 120 Days of Sodom"), nach de Sade und Pasolini, director: Johann Kresnik, Volksbühne Berlin, 2015. 2016 Helnwein became Honorary Member of iSTAN, the International Stage Art Network, a joint venture between the International Theatre Institute ITI and the Central Academy of Drama CAD Beijing.

A contemporary picture of the machinery used for the swimming Rhinemaidens at the 1876 premiere of the Ring, as seen from backstage From the first complete production of the Ring, at the Bayreuth Festspielhaus in 1876, it was established that the Rhinemaidens should be depicted in conventional human form, rather than as mermaids or with other supernatural features, notwithstanding Alberich's insult to Wellgunde: "Frigid bony fish!" (Kalter, grätiger Fisch!).Das Rheingold, Scene 1 The staging of their scenes has always been a test of ingenuity and imagination, since Wagner's stage directions include much swimming and diving and other aquatic gymnastics.See libretto, Das Rheingold, Scene 1, Götterdämmerung, Act III Scene I Traditionally, therefore, much use has been made of backdrops and lighting to achieve the necessary watery effects.

Eric Halfvarson (born December 1, 1951 in Aurora, Illinois) is an American operatic basso. He made his professional debut in 1973 with the Lake George Opera (now the Opera Saratoga) as Don Basilio in The Barber of Seville. Since then he has specialized in the repertoire for the basso profundo, singing such roles as the Grand Inquisitor in Don Carlos, Sarastro in The Magic Flute, Baron Ochs in Der Rosenkavalier and, in the Wagner repertoire, Heinrich (Lohengrin), Hagen (Götterdämmerung) and Hunding (Die Walküre) as well as Claggart in Billy Budd. He has sung in many theaters including The Lyric Opera of Chicago, Metropolitan Opera, Covent Garden, La Fenice, Teatro alla Scala Milano, Wiener Staatsoper, Deutsche Oper and has taken part in the Bayreuth Festival.

Beginning with a production of Die Walküre one year, and following successively each year with Siegfried and, finally, Götterdämmerung, Ross announced in 1975 that Das Rheingold would precede the others to make up the first consecutive Ring Cycle over six days in July. In spite of the modernization of the opera productions which Ross found at the Bayreuth Festival, Seattle's were to be traditional productions and appeal to the lovers of the traditional. Two back-to-back cycles of the Ring, one each in German and English, were presented annually between 1975 and 1983. Andrew Porter's English adaptation which was prepared for the English National Opera and which was priced below the German language cycle, introduced many new listeners to Wagner.

Thebom sang with the Metropolitan Opera for the next 22 seasons, giving a total of 357 performances with the company during her career. Her most frequent role at the Met was Amneris in Giuseppe Verdi's Aida; a part she played in 80 performances opposite such Aidas as Gloria Davy, Florence Kirk, Zinka Milanov, Herva Nelli, Delia Rigal, Antonietta Stella, Renata Tebaldi, and Ljuba Welitsch among others. She also excelled in Wagner's operas at the Met, portraying the roles of Erda in Das Rheingold, Magdalene in Die Meistersinger von Nürnberg, Ortrud in Lohengrin, Venus in Tannhäuser, Waltraute in Götterdämmerung, and Fricka in both Die Walküre and Das Rheingold. In 1951 Thebom appeared as Dorabella in the premiere of Alfred Lunt's popular English-language production of Wolfgang Amadeus Mozart's Così fan tutte at the Met.

Her other Met roles included Amneris, Azucena, Brangäne in Wagner's Tristan und Isolde, Dalila in Camille Saint- Saëns's Samson et Dalila, Eglantine in Carl Maria von Weber's Euryanthe, Erda in both Wagner's Das Rheingold and Siegfried, Fricka in Wagner's Die Walküre, Laura in Amilcare Ponchielli's La Gioconda, Nancy in Friedrich von Flotow's Martha, Waltraute in Wagner's Götterdämmerung, and the Witch in Engelbert Humperdinck's Königskinder. Her final and 182nd performance at the Met was as Marina in Modest Mussorgsky's Boris Godunov on April 27, 1917.Metropolitan Opera Archives On May 8, 1917, Ober performed in a benefit concert for the composer Eugen Haile. With news of an imminent declaration of war against Germany circulating among audience members at the April 2, 1917, performance of The Canterbury Pilgrims, spontaneous displays of American patriotism briefly interrupted the performance.

The Chorus's core repertoire consists of the major nineteenth and twentieth century orchestral choral works. The Chorus has performed and recorded works such as Elgar's The Dream of Gerontius, Mahler's Second, Third and Eighth Symphonies, Ravel's Daphnis et Chloé, Dvořák's Stabat Mater, Janáček's Glagolitic Mass, Britten's War Requiem, Beethoven's Ninth Symphony and Missa Solemnis, Berlioz's La damnation de Faust and Roméo et Juliette, Schoenberg's Gurre-Lieder, Brahms's Ein deutsches Requiem, Rossini's Stabat Mater, Stravinsky's Oedipus Rex & Symphony of Psalms, Tippett's A Child of Our Time and Verdi's Requiem. The Chorus has also taken part in concert performances and commercial recordings of operas including Beethoven's Fidelio, Berlioz's Les Troyens and Benvenuto Cellini, Bernstein's Candide, Britten's Peter Grimes and Billy Budd, Verdi's Rigoletto, Falstaff and Otello, Wagner's Götterdämmerung and Richard Strauss's Elektra.

In the summer of 1963, the Heldentenor made his debut at the Bayreuth Festival as Kunz Vogelgesang in Wieland Wagner's new production of Die Meistersinger, with Anja Silja as Eva. In 1966 Parly returned to the Green Hill for the leading role of Siegmund in Die Walküre and, two years later, portrayed Siegfried in Siegfried (which he also sang at the Salzburg Festival, under Herbert von Karajan) and Götterdämmerung. These were his last appearances at Bayreuth. For the San Francisco Opera, he was seen in Die Frau ohne Schatten, in 1960. In his native Copenhagen, Parly sang in Fidelio (as Florestan, 1963), Der fliegende Holländer (as Erik, 1963), Tannhäuser (1964), Elektra (as Ägisth, 1966) and Boris Godunov (directed by Harry Kupfer, 1988). In 1965 Parly returned to New Orleans, for Tannhäuser, in Tito Capobianco's production.

I only realized later that this was > Stockhausen's "Feldman piece" just as Stimmung was his "LaMonte Young > piece". However, another precedent for Stimmung is an unfinished work by Stockhausen himself, begun in 1960 and titled Monophonie, which was to have consisted of the single note E . Igor Stravinsky, on the other hand, traces Stimmung's one- note idea back to the pedal point in Henry Purcell's Fantasy upon One Note, and its time-scale to Wagner's Götterdämmerung, while at the same time observing that this time-scale "indicates the need of a musical equivalent to the parking meter" . Stimmung had an enormous impact on many younger composers and has been cited as an important influence on the French spectralists of the 1970s, such as Tristan Murail and Gérard Grisey (; ).

From 1917 to 1927, he was also director of the Lehrergesangsverein Zürich. From 1925 to 1931 he organised the Wagner Festival at the Grand Théâtre de Genève in cooperation with the Orchestre de la Suisse Romande, where he gave the first performances of Das Rheingold, die Götterdämmerung and Parsifal. Guest conductors led him to Paris. In 1927, he changed to the Deutsche Oper Berlin in Berlin-Charlottenburg.Andres Briner: Robert F. In Historical Dictionary of Switzerland, 17 March 2010, retrieved on 30 September 2020. From 1937 to 1947, he was musical Oberleiter at the Zurich City Theatre. There he stood up for the "degenerate music" that was spurned by the Nazis. He brought Alban Berg's Lulu in 1937 and Paul Hindemith's opera Mathis der Maler to the premiere in 1938.

She was also seen at the NYCO that season as Santuzza in Mascagni's Cavalleria rusticana. In April 1944 Resnik won the Metropolitan Opera Auditions of the Air, performing "Ernani, involami", and was offered a contract with that company for the 1944/45 season. Her debut at the Met was doubly dramatic – on one day's notice she substituted on December 6, 1944, for Zinka Milanov as Leonora in Il trovatore eliciting acclaim from the public, the critics noting that all the vocal "virtuosity" and her stage presence as an actress were very impressive. During the next decade, she offered twenty heroines: Donna Elvira and Donna Anna (Don Giovanni), Fidelio, Sieglinde (Die Walküre), Gutrune (Götterdämmerung), Chrysothemis (Elektra), Rosalinda and Eboli (Don Carlos), Aida, Alice Ford (Falstaff), Tosca, Madama Butterfly and Musetta (La bohème).

Born in Sátoraljaújhely, Némethy studied at the Franz Liszt Academy of Music in Budapest, and privately with Ettore Panizza in Milan. She made her professional opera debut in 1919 as Dalila in Camille Saint-Saëns's Samson et Dalila at the Hungarian State Opera House. She remained a resident artist at that opera house for three decades where she performed a highly varied repertoire; including performances of Amneris in Aida, Brünnhilde in Die Walküre, Götterdämmerung, and Siegfried, Eboli in Don Carlos, Leonore in Fidelio, Kundry in Parsifal, Ortrud in Lohengrin, Santuzza in Cavalleria rusticana, and Venus in Tannhäuser among others. Némethy appeared as a guest artist with several major opera houses around the world, including the Berlin State Opera, the Teatro Colón, and leading opera houses in Italy, Spain, and the United States.

The following year, those functionaries were ordered to attend, but they could be seen dozing off during the performance, so that in 1935, Hitler conceded and released the tickets to the public.Spotts (1999), 156 In general, while Wagner's music was often performed during the Third Reich, his popularity actually declined in Germany in favor of Italian composers such as Verdi and Puccini. By the 1938–39 season, Wagner had only one opera in the list of fifteen most popular operas of the season, with the list headed by Italian composer Ruggero Leoncavallo's Pagliacci.Evans, Richard J.(2005), 198-201 Ironically, according to Albert Speer, the Berlin Philharmonic Orchestra's last performance before their evacuation from Berlin at the end of World War II was of Brünnhilde's immolation scene at the end of Götterdämmerung.

His concert repertoire ranges from Mozart to Penderecki, and from Beethoven to Mahler. He debuted in 1976 at the Vienna State Opera as Ferrando (Il trovatore). From there he went on to sing Colline (La bohème), Pimen (Boris Godunov), Grand Inquisitor (Don Carlo), Commendatore (Don Giovanni), Osmin (Die Entführung aus dem Serail), Rocco (Fidelio), Daland (The Flying Dutchman), Roger (Jérusalem), King Henry (Lohengrin), Raimondo (Lucia di Lammermoor), Geronte (Manon Lescaut), Talbot (Maria Stuarda), Veit Pogner (Die Meistersinger von Nürnberg), Bartolo (The Barber of Seville), Titurel and Gurnemanz (Parsifal), Sparafucile (Rigoletto), Fasolt (Das Rheingold), Hunding (Die Walküre), Fafner (Siegfried), Hagen (Götterdämmerung), Ochs (Der Rosenkavalier) Morosus (Die schweigsame Frau), Landgraf (Tannhäuser), Claggart (Billy Budd) and Sarastro (The Magic Flute). Rydl studied in the U.S. as an exchange student and is fluent in English.

He sang the title role in Giuseppe Verdi's Don Carlos in the opera's first performance in England in 1938, and he appeared in the first Sadler's Wells performance of Nikolai Rimsky-Korsakov's The Snow Maiden. In his later career he was mainly a concert singer, and teacher in Cardiff. Tudor Davies made a number of recordings, including a complete performance of Giacomo Puccini's Madama Butterfly, and excerpts from Richard Wagner's Der Ring des Nibelungen (including the Love Duet from Siegfried and the Dawn Duet from Götterdämmerung, both with Florence Austral),Bikwil and The Mastersingers of Nuremberg, and Vaughan Williams's Hugh the Drover. He can also be heard in excerpts from Elgar's The Dream of Gerontius, recorded live in a performance conducted by the composer at Hereford Cathedral in 1927.

After graduating with distinction, Radner performed Schumann's Faust scenes under Jesús López-Cobos at the Teatro Real Madrid. She sang in Beethoven's Symphony No. 9 conducted by Gianandrea Noseda at the Teatro Regio Torino. She performed a recital at Wahnfried on 16 August 2009 with works by Schubert, Brahms, Liszt and Wagner's Wesendonck Lieder. In December 2009 she sang the third lady in Mozart's Die Zauberflöte under Tomáš Netopil at the Bayerische Staatsoper in Munich in five performances. The conductor Sir Simon Rattle cast her as First Norn and Flosshilde in Götterdämmerung at the 2009 Festival d’Aix-en-Provence and again at the Salzburger Osterfestspiele in 2010. In 2009 and 2010, Radner was part of a new production of Stravinsky's Rossignol by the Canadian Opera Company in Toronto.

The Band of the Welsh Guards of the British Army play as Grenadier guardsmen march from Buckingham Palace to Wellington Barracks after the Changing Of The Guard. A march, as a musical genre, is a piece of music with a strong regular rhythm which in origin was expressly written for marching to and most frequently performed by a military band. In mood, marches range from the moving death march in Wagner's Götterdämmerung to the brisk military marches of John Philip Sousa and the martial hymns of the late 19th century. Examples of the varied use of the march can be found in Beethoven's Eroica Symphony, in the Marches Militaires of Franz Schubert, in the Marche funèbre in Chopin's Sonata in B flat minor, the "Jäger March" in the by Jean Sibelius, and in the Dead March in Handel's Saul.

Göring studied voice at the Musikhochschule Leipzig with Jitka Kovariková and at the Musikhochschule Dresden with Hartmut Zabel. Even during her studies, she appeared on stage as Hänsel in Humperdinck's Hänsel und Gretel and in the title role of Giles Swayne's Le nozze di Cherubino. She has been a member of the Oper Leipzig since the 2002/03 season, where she appeared as Kundry in Wagner's Parsifal, the Mother in Hänsel und Gretel, the Foreign Princess in Dvořák's Rusalka, in the title role of Bizet's Carmen and as Clairon in Capriccio by Richard Strauss, among others. She has appeared there in Wagner's Der Ring des Nibelungen in several roles, as the goddess Fricka and the Rhinemaiden Wellgunde in Das Rheingold, as Fricka and the Valkyrie Waltraute in Die Walküre, and as Waltraute and the Second Norn in Götterdämmerung.

Evil or Light vs. Darkness. As presented here, Clontarf defined not only the future of Ireland but also the fate of the entire world, the whole of humanity - though other Christians in other places failed to appreciate what Brian Boru and his warriors had done for them. The same point was made by Howard in the related story, The Twilight of the Grey Gods, whose plot all takes place in 1014 and where the participation of Odin in the battle makes it a Wagnerian Götterdämmerung or Ragnarök. This perception of Vikings and of the Norse religion as utterly evil is quite at variance with that presented in Tigers of the Sea, where Howard's earlier Irish protagonist Cormac Mac Art joins a Viking band, feels no objection to his Danish comrades-in-arms worshiping Odin, and conversely is not particularly fond of Christianity.

She appeared at the Hamburg State Opera as Liù in Puccini's Turandot, a role she also sang for the Finnish National Opera in Helsinki. She was a member of the Vienna State Opera in the 2004/05 season, appearing in roles such as Papagena in Mozart's Die Zauberflöte and Woglinde in Wagner's Das Rheingold and Götterdämmerung. In 2007, Cvilak appeared as Mimi in Puccini's La bohème at the Washington National Opera, making her debut there, followed by Micaëla in Bizet's Carmen, and Liù at the same venue. She performed the soprano solo part of Britten's War Requiem on 10 November 2013, the centenary of the composer's birth, at the Royal Albert Hall, with the BBC Symphony Orchestra and Chorus, the Crouch End Festival Chorus, the Choristers of Westminster Abbey, tenor Allan Clayton and baritone Roderick Williams, conducted by Semyon Bychkov.

He appeared as Margarete's brother in Busoni's Doktor Faust, staged by for the Staatsoper Stuttgart and San Francisco, and chosen as Inszenierung des Jahres 2005 (Staging of the Year). He appeared at the Cologne Opera as Beckmesser in Wagner's Die Meistersinger von Nürnberg, staged by Uwe Eric Laufenberg; in the title role of Bartók's Bluebeard's Castle, staged by Bernd Mottl; and as the Forester in Janáček's Das schlaue Füchslein. Kränzle's roles in Frankfurt included many by Mozart: Don Giovanni, Papageno, Conte Almaviva, and again Guglielmo und Don Alfonso. He performed there also the roles of Wolfram in Wagner's Tannhäuser, Gunther in his Götterdämmerung, Count Tomsky in Tchaikovsky's Pique Dame, the dark fiddler in Romeo und Julia auf dem Dorfe by Frederick Delius, and Prus in Janáček's Die Sache Makropulos staged by Richard Jones, among many others.

Georg Unger Georg Unger (1837 - 1887) was a German operatic tenor most famous for playing Siegfried in Der Ring des Nibelungen written by Richard Wagner. Unger was born in Leipzig (Germany), and as a student studied Theology and music. He made his singing debut aged 37, going on to make appearances at Cassel, Zurich, Bremen, Neustrelitz, Brunn, Elberfeld and Mannheim. He was recommended to Richard Wagner for the role of Siegfried by Hans Richter, and, after close supervision from a singing tutor,'The New Grove Guide to Wagner and His Operas' By Barry Millington Published by Oxford University Press US, (2006) pg 25 he performed the part in Siegfried and Götterdämmerung with great success at Bayreuth in 1876 and at other venues in the premiere of the complete cycle of Der Ring des Nibelungen, conducted by Richter.

Bender, William, "Music: Souvenir Opera", Time, 14 June 1976 She subsequently returned to Philadelphia regularly through 1995, portraying Geneviève in Pelléas et Mélisande, Herodias in Salome, La Frugala in Il Tabarro, Mistress Quickly in Verdi's Falstaff, the Princess in Suor Angelica, and Zita in Gianni Schicchi. In 1979 Curry made her debuts at the Opera Theater of Saint Louis as The Voice in Ottorino Respighi's Lucrezia and as Madelon in Andrea Chénier at the Lyric Opera of Chicago. She subsequently returned to Chicago in the roles of Federica in Luisa Miller (1982), Katisha in The Mikado (1983), and La Cieca in La Gioconda (1987). From 1981 to 1986 she performed annually in Seattle Opera's first production of Wagner's The Ring Cycle under director Speight Jenkins, portraying Fricka in Das Rheingold and Die Walküre and Waltraute/Second Norn in Götterdämmerung.

The climactic battle theme, named "Neodämmerung" (in reference to Wagner's Götterdämmerung), features a choir singing extracts (shlokas) from the Pavamana Mantra, introduced in the Upanishads. The chorus can be roughly translated from Sanskrit as follows: "lead us from untruth to truth, lead us from darkness to light, lead us from death to immortality, peace peace peace". The extracts were brought to Davis by the Wachowskis when he informed them that it would be wasteful for such a large choir to be singing simple "ooh"s and "aah"s (according to the DVD commentary, Davis felt that the dramatic impact of the piece would be lost if the choir was to sing 'This is the one, see what he can do' in plain English). These extracts return in the film's denouement, and in Navras, the track that plays over the closing credits (which may be considered a loose remix of "Neodämmerung").

His debut at the Metropolitan Opera was in the title role of Lohengrin on January 1, 1890, and he also sang Loge, Siegmund, the title role of Tannhäuser, Tristan in Tristan und Isolde, and Siegfried in both Siegfried and Götterdämmerung at the Met. Heinrich Vogl was also the first performer to play the roles of Loge and Siegfried in London, which he did in the first Ring cycle in London at Her Majesty's Theatre, with Anton Seidl conducting and his wife playing the role of Brünnhilde. His Wagner repertoire included all the leading tenor roles except Walther in Die Meistersinger von Nürnberg, for which Wagner rejected him for the 1868 premiere on the grounds that, at the age of 23, Vogl was "totally incompetent". He and his wife Therese were among the first performers to sing the lead roles in Tristan und Isolde, and were highly regarded in these roles.

In 2014 Carroll performed four roles at the HGO: Countess Ceprano in Rigoletto, Adele, Anne Engerman in A Little Night Music, and Woglinde in Das Rheingold. Also that year she portrayed Rosalba at the Washington National Opera, Julie Jordan in Carousel at the Glimmerglass Opera, Gilda in Rigoletto at Opera Santa Barbara, and the Princess in Xavier Montsalvatge's El Gato con Botas at the Gotham Chamber Opera. In 2015 she was a finalist in the Operalia, The World Opera Competition, made her debut at the Seattle Opera as Echo in Ariadne auf Naxos, performed Adina in L'elisir d'amore with the Finger Lakes Opera, and returned to the Utah Opera as Leila in Bizet's Les pêcheurs de perles before assuming her post in Vienna. In 2016 Carroll returned to the Vienna State Opera as Waldvogel in Siegfried, Woglinde in Götterdämmerung, and Papagena in The Magic Flute.

Ludwig made her American debut at the Lyric Opera of Chicago as Dorabella in Così fan tutte in 1959. That same year, she made her debut at the Metropolitan Opera in New York as Cherubino in Le nozze di Figaro and subsequently sang 121 performances in 15 different roles with the company until 1993. At the Metropolitan Opera, where she quickly became one of the audience's favourites, her repertoire included The Dyer's Wife in the Met's first performances of Die Frau ohne Schatten, the title role and later the Marschallin in Der Rosenkavalier, Klytemnestra in Elektra, Ortrud in Lohengrin, Brangäne inTristan und Isolde, Fricka in both Das Rheingold and Die Walküre, Waltraute in Götterdämmerung, Kundry in Parsifal, the title role in Fidelio, Didon in Les Troyens, Charlotte in Werther, and Amneris in Aida. She first appeared at the Royal Opera House, Covent Garden in 1969 as Amneris in Aida.

The production used imagery from various eras of American history and had a feminist and environmentalist viewpoint. SFO presented Das Rheingold in June 2008, Die Walküre in June 2010, and three complete Ring cycles in June 2011. The complete cycles in June 2011 were conducted by Donald Runnicles and featured cycle role debuts of Mark Delavan (Wotan) and Nina Stemme (Brünnhilde) as well as Jay Hunter Morris (making his role debut in the title role of Siegfried) and (making his role debut as Siegfried in Götterdämmerung. Technological innovations In May 2006 Gockley oversaw SFO's first simulcast, a live broadcast of a mainstage performance of Madama Butterfly to San Francisco's Civic Center Plaza for a crowd of 8,000. Subsequent simulcasts have been presented at Stanford University's Frost Amphitheater, four theaters in Northern California,Joshua Kosman, "Date Lines", San Francisco Chronicle, 23 May 2007 and San Francisco's AT&T; Park.

In 1949 she made a further powerful impression with her Countess in The Marriage of Figaro and her Elsa in Lohengrin, and also made her first and highly successful appearance in a role thereafter much identified with her, as the Marschallin in Richard Strauss's Der Rosenkavalier. Soon afterwards, she undertook further Wagnerian roles, in which she was to become especially famous. Her Sieglinde (Die Walküre), often performed opposite Kirsten Flagstad's Brünnhilde, won its own individual triumph, and resulted in an invitation to appear as a guest artist in the Rome Opera International season, where she made her debut as Sieglinde in March 1952 under Erich Kleiber, and sang the role several times during the season. In London with equal success she sang the roles of Senta (The Flying Dutchman) and Gutrune (Götterdämmerung), and on 9 December 1952 was Isolde in the great Covent Garden revival of Tristan und Isolde.

After a concert tour of New Zealand, Raisbeck sailed for London with her husband James Laurie, whom she had married in 1943. A letter of recommendation from Eugene Goossens, newly appointed Director of the Conservatory, obtained her an audition at the recently formed Covent Garden Opera Company (now the Royal Opera) and she made her début as Maddalena in Verdi's Rigoletto, later singing such roles as Flora in La traviata, Second Lady in Mozart's The Magic Flute, Mercedes in Bizet's Carmen, Wellgunde in Wagner's Das Rheingold and Rossweisse in Die Walküre. Advised by the conductor Sir Thomas Beecham to become a soprano, Raisbeck studied with the tenor Dino Borgioli and from 1950 onwards she added Ortrud in Lohengrin, Senta in The Flying Dutchman, Third Norn in Götterdämmerung (all by Wagner), and First Lady in The Magic Flute to her repertory. Raisbeck was a tall, imposing woman and managed to appear the very embodiment of evil in that role.

Willis-Sørensen performs a wide variety of repertoire ranging from Mozart to Wagner. She is most well known for her interpretation of Donna Anna (Don Giovanni), Marschallin (Der Rosenkavalier), and the title role in Rusalka. Roles included in her repertoire include: Elettra (Idomeneo]), Licenza (Il sogno di Scipione), Vitellia (La clemenza di Tito), Countess Almaviva (The Marriage of Figaro), Fiordiligi (Cosi fan tutte), Hélène (Les vêpres siciliennes), Eva (Die Meistersinger von Nürnberg), Elsa von Brabant (Lohengrin), Gutrune (Götterdämmerung), Rosalinda (Die Fledermaus), Agathe (Der Freischütz), Hanna Glawari in The Merry Widow, Diemut (Feuersnot), Leonore (Fidelio), Ariadne (Ariadne auf Naxos), Mimì (La bohème), Leonora (Il trovatore), Masha (Pique Dame), Governess (The Turn of the Screw), and Marguerite (Faust). She made her professional debut as the High Priestess (Aida) at the Utah Opera Festival in 2008, and was accepted into the Houston Grand Opera Studio the following season, where she made several debuts and covered multiple roles.

Dooley returned to the United States in 1964 to become a member of the company at the Metropolitan Opera in New York City. He made his debut with the company in the title role of Eugene Onegin on February 15, 1964 opposite Leontyne Price as Tatiana. He spent the next 13 years singing with the company for a total of 188 performances. He particularly excelled in the works of Richard Wagner during his time at the Met, portraying the roles of Amfortas in Parsifal, Gunther in Götterdämmerung, Donner in Das Rheingold, Herald in Lohengrin, Kurwenal in Tristan und Isolde, and the title role in The Flying Dutchman. In 1966 Dooley notably sang the role of The Messenger of Keikobad in the Met's first production of Richard Strauss's Die Frau ohne Schatten, and in 1976 he portrayed Marquis de la Force in the Met's first production of Francis Poulenc's Dialogues of the Carmelites with Maria Ewing as Blanche de la Force.

Royal Opera House Collections Online. Other roles included the second Norn in Götterdämmerung, Mercedes in Carmen, a flower maiden in Parsifal, the governess in The Queen of Spades, a singer in Sadler's Wells production of Falla's The Three-Cornered Hat, Aninna in Strauss's Der Rosenkavalier, Giovanna in Verdi's Rigoletto, one of the genii in Mozart's Die Zauberflöte, Marcellina in Mozart's The Marriage of Figaro, the shepherd boy in Puccini's Tosca, Amelfa in Rimsky-Korsakov's The Golden Cockerel, Maddelena in Verdi's Rigoletto, Flora in Verdi's La traviata, a maid in Strauss's Elektra, Suzuki in Puccini's Madama Butterfly, Nicklaus in Offenbach's Les contes d'Hoffmann, Evadne and the Voice of the Oracle in Troilus and Cressida, Grimgerde in Wagner's Die Walküre, and Countess Hurwitz in Lehar's The Land of Smiles. Her final performance with the Royal Opera took place on 3 December 1963 where she played Aksinya in Shostakovich's Katerina Ismaillova."Katerina Ismaillova, 3 December 1963," Royal Opera House Collections Online.

Her other roles with the company included Amarante in La fille de Madame Angot, Barbarina in Le Nozze di Figaro, Donna Elvira in Don Giovanni, Eleanora in Le Donne Curiose, Eurydice in Monteverdi's Orfeo, Flowermaiden in Parsifal, Frasquita in Carmen, Geltrude in Il maestro di cappella, Gertrud in Hänsel und Gretel, Giulietta in Les Contes d'Hoffmann, Gutrune in Götterdämmerung, Helmwige in Die Walküre, the Innkeeper's Daughter in Königskinder, Leonora in Il Trovatore, Marianne in Der Rosenkavalier, Marzelline in Fidelio, Nedda in Pagliacci, Pepa in Tiefland, Poussette in Manon, the Priestess in Aida, Rosina in Il Barbiere di Siviglia, Santuzza in Cavalleria Rusticana, the Second Lady in Die Zauberflöte, the Shepherd in Tannhäuser, Siebel in Faust, Stéphano in Roméo et Juliette, and Wellgunde in Das Rheingold among others. Her last performance at the Met was in her most celebrated role, Suzuki in Madama Butterfly, on April 7, 1922. According to her friend and colleague, renowned singer Geraldine Farrar, Fornia began experiencing health problems in 1915.

Brünnhilde throws herself on Siegfried's funeral pyre in Wagner's Götterdämmerung Wagner was one of the most revolutionary and controversial composers in musical history. Starting under the influence of Weber and Meyerbeer, he gradually evolved a new concept of opera as a Gesamtkunstwerk (a "complete work of art"), a fusion of music, poetry and painting. He greatly increased the role and power of the orchestra, creating scores with a complex web of leitmotifs, recurring themes often associated with the characters and concepts of the drama, of which prototypes can be heard in his earlier operas such as Der fliegende Holländer, Tannhäuser and Lohengrin; and he was prepared to violate accepted musical conventions, such as tonality, in his quest for greater expressivity. In his mature music dramas, Tristan und Isolde, Die Meistersinger von Nürnberg, Der Ring des Nibelungen and Parsifal, he abolished the distinction between aria and recitative in favour of a seamless flow of "endless melody".

Of the 34 characters in the Ring cycle, they are the only ones who did not originate in the Old Norse Eddas. Wagner created his Rhinemaidens from other legends and myths, most notably the Nibelungenlied which contains stories involving water- sprites (nixies) or mermaids of the Danube (but perhaps where that river meets the Rhine). The key concepts associated with the Rhinemaidens in the Ring operas—their flawed guardianship of the Rhine gold, and the condition (the renunciation of love) through which the gold could be stolen from them and then transformed into a means of obtaining world power—are wholly Wagner's own invention, and are the elements that initiate and propel the entire drama. The Rhinemaidens are the first and the last characters seen in the four-opera cycle, appearing both in the opening scene of Das Rheingold, and in the final climactic spectacle of Götterdämmerung, when they rise from the Rhine waters to reclaim the ring from Brünnhilde's ashes.

Over the next nine seasons she sang several other mezzo-soprano roles at the Met, largely in operas by Wagner and Verdi. Her Wagner roles during these years included Brangäne in Tristan und Isolde, Erda, Flosshilde, and Fricka in Das Rheingold, Erda in Siegfried, the First Norn and Waltraute in Götterdämmerung, Fricka and Schwertleite in Die Walküre, Magdalene in Die Meistersinger von Nürnberg, Mary in The Flying Dutchman, Ortrud in Lohengrin, Venus in Tannhäuser, and Kundry and the Voice from Above in Parsifal. Other roles in her Met repertoire included Amelfa in Le Coq d'Or, Auntie in Peter Grimes, Azucena, Amneris in Aida, Frugola in Il Tabarro, Geneviève in Pelléas et Mélisande, Gertrud in Hänsel und Gretel, Herodias in Salome, La Cieca in La Gioconda, Mistress Quickly in Falstaff, the Mother in Louise, the Third Lady in The Magic Flute, and Ulrica in Un Ballo in Maschera.Metropolitan Opera Archives Harshaw made her first foray into the soprano repertoire singing the role of Senta in The Flying Dutchman opposite Paul Schöffler in the title role on November 22, 1950.

For example, Jane Eaglen's noble rendition of the immolation scene from Götterdämmerung was followed by the broad comedy of Frederica von Stade in the tipsy aria from La Périchole; the effect was to "dissipate the solemn afterglow of the one and make the other seem goofy and tasteless". Von Stade also supplied "one of the evening's true glories" in a performance of Cherubino's "Voi che sapete" [omitted from DG's DVD and CD]. "Opera has recently offered little more wonderful than von Stade's interpretation of that famous ardent, hormone- crazed pubescent boy". Also outstanding were Carlo Bergonzi and Alfredo Kraus, skillfully making the most of resources depleted by old age; Ileana Cotrubas, "ripely and irresistibly nostalgic" in Giuditta; Plácido Domingo, combining "magnificent vocalizing and the most acute artistic intelligence" in Don Carlo and Faust; Renée Fleming, "luscious and immaculate" in Louise, Don Giovanni and Der Rosenkavalier; Waltraud Meier, singing Isolde's curse with "thrilling ferocity"; and Ruth Ann Swenson, compensating for her technical deficiencies in a coloratura showpiece from Roméo et Juliette with character and intelligence.

Some of the parts she performed at the Met included Annina in La traviata, both the Aunt and Barena in Janáček's Jenůfa, Barbarina and Marcellina in The Marriage of Figaro, Berta in The Barber of Seville, Countess Ceprano in Rigoletto, the Dew Fairy and the Sandman in Hansel and Gretel, Feklusa in Káťa Kabanová, the First Lady in The Magic Flute, the Flower Seller in Britten's Death in Venice, Frasquita in Carmen, Gerhilde in Die Walküre, Giannetta in L'elisir d'amore, Helen in Mourning Becomes Electra, Ines in Il trovatore, Jouvenot in Adriana Lecouvreur, Kate Pinkerton in Madama Butterfly, Laura in Luisa Miller, Lauretta in Gianni Schichi, Lisa in La sonnambula, Marianne in Der Rosenkavalier, Marthe in Faust, Musetta in La bohème, Oscar in Un ballo in maschera, Samaritana in Francesca da Rimini, Woglinde in both Das Rheingold and Götterdämmerung, Xenia in Boris Godunov, Zerlina in Don Giovanni, and title role in Lucia di Lammermoor. In 1991 she created the role of the Woman with Child in the world premiere of John Corigliano's The Ghosts of Versailles.

As part of the growing "Bismarck Cult" in Germany that saw his popularity after his removal from office soar, the national student union had first launched a competition to design a Bismarck Tower in March 1898 to honour him. Their chosen design of the "Götterdämmerung" ('Twilight of the Gods') created by Wilhelm Kreis was selected in 1899 and became the standard model for all such monuments. Following this trend the student body of the Hannover Technical College (the present-day Leibniz University Hannover) demanded in early 1899 that such a monument be erected in the city, which could also serve as a meeting place for large nationalist events. On 25 July 1899, an assembly of city magistrates and the civic council outvoted the Social Democrats and German-Hanoverian Party to commit to creating a memorial. It was decided in March 1901 that it would be built in the centre of the Aegidien-Masch, a wild meadow land area used for various leisure activities at the time, instead of the alternative site of the Eilenriede forest.

In July 2010, Blue was honored to be a part of the 17th Annual Verbier Festival in Verbier, Switzerland, where she sang in an "Operalia Tribute" Concert sponsored by Rolex. She has also received awards from the Metropolitan Opera National Council Regional Auditions, A.E.I.O.U Italian Educators Vocal Competition, the Dorothy Chandler Pavilion's Emerging Young Entertainers Award, and the Redlands Bowl Competition. In upcoming seasons Blue revisits Clara in Porgy and Bess in concert with the Berlin Philharmonic and Sir Simon Rattle; returns to the Frankfurt Opera as the Dritte Norn in Richard Wagner’s Götterdämmerung; and performs Musetta, La Bohème, for the English National Opera. Concert performances will take place in Europe, including Carmina Burana at the Maggio Musicale with Zubin Mehta, Mahler’s Symphony No. 2 with the Munich Philharmonic, Verdi's Greatest Hits concert with the Santa Barbara Symphony, Verdi Requiem with the Cincinnati Symphony Orchestra and St. Louis Symphony Orchestra under the direction of Raphael Frühbeck de Burgos, and the release of her first solo album with British pianist Iain Burnside.

Born in Hagen, Schneider studied at the Musikhochschule München. She first joined the ensemble of the Staatstheater am Gärtnerplatz in the 1997/98 season, where she performed roles such as the Queen of the Night in Mozart's Die Zauberflöte, Konstanze in his Die Entführung aus dem Serail, and Zerbinetta in Ariadne auf Naxos by Richard Strauss. She has been a member of the Staatsoper Stuttgart from the 2006/07 season, where she appeared as Donna Anna in Mozart's Don Giovanni, as Giunia in his Lucio Silla, as Elettra in his Idomeneo, as the Countess in his Le nozze di Figaro, as Rosalinde in Die Fledermaus by Johann Strauss, as Madame Lidoine in Poulenc's Dialogues des Carmélites, in the title role of Donizetti's Maria Stuarda, as Chrysothemis in Elektra, as Gutrune in Wagner's Götterdämmerung, as Alice Ford in Verdi's Falstaff, and as the Feldmarschallin in Der Rosenkavalier by Richard Strauss. In 2008, she performed the title role of Alceste by Anton Schweitzer on the occasion of the reopening after the fire of the Duchess Anna Amalia Library.

During the nineteenth century, composers made use of the circle of fifths to enhance the expressive character of their music. Franz Schubert’s poignant Impromptu in E flat major, D899, contains such a passage:Schubert Impromptu in E flat Schubert Impromptu in E flat – as does the Intermezzo movement from Mendelssohn’s String Quartet No.2:Mendelssohn String Quartet 2, 3rd movement (Intermezzo)Mendelssohn String Quartet 2, 3rd movement (Intermezzo)Robert Schumann’s evocative “Child falling asleep” from his Kinderszenen springs a surprise at the end of the progression: the piece ends on an A minor chord, instead of the expected tonic E minor.Schumann, Kind im Einschlummern (Child falling asleep) Schumann, Kind im EinschlummernIn Wagner’s opera, Götterdämmerung, a cycle of fifths progression occurs in the music which transitions from the end of the prologue into the first scene of Act 1, set in the imposing hall of the wealthy Gibichungs. “Status and reputation are written all over the motifs assigned to Gunther”,Scruton, R. (2016, p. 121) The Ring of Truth: The Wisdom of Wagner’s Ring of the Nibelung.

Carol Wilson is an American operatic soprano who is particularly admired for her interpretations of the works of Wolfgang Amadeus Mozart, Richard Strauss, and Richard Wagner. She has also had a considerable amount of success in performing in baroque operas. A graduate of Iowa State University and the Yale School of Music, Wilson has been a principal artist at the Deutsche Oper am Rhein since 1998 where she has portrayed such roles as Agathe in Der Freischütz, Alice Ford in Falstaff, the Countess in Capriccio, Elisabeth in Tannhäuser, Eva in Die Meistersinger von Nürnberg, Fiordiligi in Cosi fan tutte, Leonore in Fidelio, Senta in Der fliegende Holländer, and the title heroines in Alcina, Ariadne auf Naxos, L'incoronazione di Poppea, and Iphigénie en Tauride. Her 2009 performances at the house include Countess Almaviva in Le nozze di Figaro, Donna Elvira in Don Giovanni, the Empress in Die Frau ohne Schatten, Freia in Das Rheingold, Gutrune in Götterdämmerung, the Marschallin in Der Rosenkavalier, Ortlinde in Die Walküre, and La Speranza/La Musica in L'Orfeo.

Kollo has made numerous recordings, including Tannhäuser (conducted by Sir Georg Solti, 1970), Das Lied von der Erde (Karajan, 1973), Die Meistersinger von Nürnberg (Karajan, 1970, and, later, Solti, 1975–76), Parsifal (Solti, 1971–72), Die tote Stadt (with Carol Neblett, conducted by Erich Leinsdorf, 1975), The Bartered Bride (with Stratas, conducted by Jaroslav Krombholc, 1975), Rienzi (conducted by Heinrich Hollreiser, 1974–76), Der fliegende Holländer (Solti, 1976), Ariadne auf Naxos (Solti, 1977), Fidelio (conducted by Leonard Bernstein, 1978), Der Freischütz (conducted by Rafael Kubelík, 1979), Lohengrin (with Dunja Vejzovic as Ortrud, led by Karajan, 1975–81), Siegfried (conducted by Marek Janowski, 1982), Tristan und Isolde (with Dame Margaret Price, conducted by Carlos Kleiber, 1980–82), Götterdämmerung (Janowski, 1983), Die Frau ohne Schatten (conducted by Wolfgang Sawallisch, 1987), and Die Dreigroschenoper (with Helge Dernesch, led by John Mauceri, 1988). Kollo has also recorded the Wesendonck Lieder (conducted by Christian Thielemann, 1992). On video, two performances of his Tristan can be found: a 1983 production staged at the Bayreuth Festival by Jean-Pierre Ponnelle (with Johanna Meier as Isolde) and a 1993 production from Berlin, directed by Götz Friedrich (with Dame Gwyneth Jones as the Irish princess).

His other compositions include several secular cantatas, the symphonic poem Macbeth, a concertino for oboe and orchestra, a number of choral works, and music for solo organ, piano, violin and cello. In 1890 Dupuis was appointed to the conducting staff at the Théâtre Royal de la Monnaie, and in 1900 he assumed the role of principal conductor at that house. He notably conducted that opera house's first productions of Götterdämmerung (13 January 1891), Die Entführung aus dem Serail (15 February 1902), Tosca (2 April 1904), Alceste (14 December 1904), La damnation de Faust (21 February 1906), Les Troyens (27 December 1906), Salome (26 March 1907), Fortunio (4 January 1908), Ariane et Barbe-bleue (2 January 1909), Madama Butterfly (29 October 1909), Elektra (26 May 1910), Feuersnot (16 March 1911), and Roma (15 January 1913). He also conducted numerous world premieres, including Ernest Chausson's Le roi Arthus (30 November 1903), Albert Dupuis's Martylle (3 March 1905), Albert Roussel's Symphony No. 1 Le poème de la forêt (22 March 1908), Pierre de Bréville's Éros vainqueur (7 March 1910), Cesare Galeotti's Dorisse (18 April 1910), and Vincent d'Indy's Le chant de la cloche (21 November 1912).

Her husband was in the Air Force in North Africa, and she was engaged to give a solo concert on the Mediterranean coast, in an open-air theater forty miles outside Tripoli. "Imagine", says Rankin, "Libya was still a kingdom then, and King Idris had a piano flown in from Egypt, while an American cruiser was stationed near the shore to illuminate the stage. The whole thing was unreal and unforgettable." Although Rankin made appearances with several major companies throughout her career, she spent most of her time in New York City performing at the Metropolitan Opera between 1951 and 1976; there she sang the role of Carmen, the Princess di Bouillon in Cilea's Adriana Lecouvreur, Madelon in Giordano's Andrea Chénier, Santuzza in Mascagni's Cavalleria rusticana, Marina in Mussorgsky's Boris Godunov (in English), Giulietta in Offenbach's Les Contes d'Hoffmann, Herodias in Richard Strauss's Salome, Maddalena in Verdi's Rigoletto, Azucena in Verdi's Il trovatore, Princess Eboli in Verdi's Don Carlo, Ulrica in Verdi's Un ballo in maschera, Brangäne in Wagner's Tristan und Isolde, Gutrune in Wagner's Götterdämmerung, Fricka in Wagner's Die Walküre and Ortrud in Wagner's Lohengrin among others.

She returned almost annually to this house through 1971 in such roles as Anna in Les Troyens, Azucena in Il trovatore, Berta in The Barber of Seville, Clairon in Strauss's Capriccio, Countess de Coigny in Andrea Chénier, Countess Geschwitz in Lulu, the First Norn in Götterdämmerung, Fricka in Das Rheingold, Herodias in Salome, The innkeeper in Boris Godunov, Marcellina in The Marriage of Figaro, The Marquise of Birkenfeld in La fille du régiment, Marthe Schwertlein in Faust, Mistress Quickly in Falstaff, the Mother in Louise, Mother Goose in The Rake's Progress, Prince Orlofsky, Rossweisse in Die Walküre, Tisbe in La Cenerentola, and the Woman in the United States premiere of Gunther Schuller's The Visitation. After a nine-year absence, Červená returned to San Francisco in 1980 to portray Countess Waldner in Arabella, Flora in La traviata, Mamma Lucia in Cavalleria Rusticana, and Starenka Buryjovka in Jenůfa. Červená has made several appearances at the Bayreuth Festival, including Floßhilde in The Ring Cycle (1960), Rossweisse (1966–67), and a Flower Maiden in Parsifal (1962–63 and 1966–67). She portrayed Clairon at the 1963 and 1964 Glyndebourne Festivals.

She also sang Suzuki in the Met premiere of Puccini's Madama Butterfly in the presence of the composer on February 11, 1907. She left the Met at the end of March 1919, but returned to the company in late 1927. Homer sang a varied repertoire at the Met which encompassed parts from a variety of musical periods and languages. Some of the many roles she appeared in on the Met stage were Azucena in Il trovatore, Brangäne in Tristan und Isolde, Dalila in Samson and Delilah, Emilia in Otello, Erda in Siegfried, Fidès in Le prophète, both Flosshilde and Waltraute in Götterdämmerung, both Fricka and Schwertleite in Die Walküre, Laura in La Gioconda, Lola in Cavalleria rusticana, Maddalena in Rigoletto, Magdalene in Die Meistersinger von Nürnberg, Marguerite in La dame blanche, both Marta and Pantalis in Mefistofele, Mistress Quickly in Falstaff, Nancy in Martha, Naoia in Frederick Converse's The Pipe of Desire, Orfeo in Orfeo ed Euridice, Ortrud in Lohengrin, the Second Lady in The Magic Flute, Siebel in Faust, Urbain in Les Huguenots, Ulrica in Un ballo in maschera, Venus in Tannhäuser, and the Witch in Hansel and Gretel.

Quickly in Verdi's Falstaff in August 1996 and was awarded the title of Kammersängerin in 2006. Roles performed included Azucena in Verdi's Il Trovatore conducted by Nicola Luisotti, and Arnalta in Monteverdi's L'incoronazione di Poppea conducted by Nicholas Kok, Eboli in Verdi' Don Carlo, Widow Begbick in Weill's Rise and Fall of the City of Mahagonny, Venus in Tannhäuser, Giulietta in Ogffenbach's The Tales of Hoffman, Fricka in Wagner's Die Walküre, Waltraute in Götterdämmerung and Erda in Das Rheingold and Siegfried. Her discography in Stuttgart includes the Stuttgart Opera Ring cycle filmed for DVD distribution by Euro Arts and recorded for Naxos. From 2010 to 2018 Vaughn was a principal artist in the ensemble of the Semperoper where she was heard as Azucena conducted by Daniel Oren, Venus conducted by Asher Fisch, Ortrud in Wagner's Lohengrin, Herodias, Eboli, Jezibaba in Stefan Herheim's production of Rusalka, Orlofsky in Die Fledermaus by Johann Strauss, Isabella in Rossini's L'Italiana in Algeri, Suzuki in Puccini's Madama Butterfly, Grand Vestale in La Vestale conducted by Gabriele Ferro, Cornelia in Handel's Giulio Cesare, the Mother in Il Prigioniero, Brigitta in Korngold's Die Tote Stadt among others.

Bruneau's Le rêve (1891), Massenet's Esclarmonde (1889) and Le mage (1891), and Saint-Saëns' Ascanio (1890). Carpezat worked independently from Lavastre's death (1891) onwards. Named the latter's successor as the Opéra's chef du service des décorations, Carpezat contributed to an immense number of stagings at the Palais Garnier: Gluck's Armide (revival, 1905), Gounod's Sapho (new production, 1884) and Faust (complete redesign, 1908), Leroux' Astarté (premiere, 1901), Massenet's Le Cid (world premiere, 1885) and Thaïs (world premiere, 1894), Rameau's Hippolyte et Aricie (modern premiere, 1908), Reyer's Salammbô (Parisian premiere, 1892), Rossini's Guillaume Tell (new production, 1899), Saint-Saëns' Samson et Dalila (Parisian premiere, 1892) and Henri VIII (new production, 1909), Verdi's Otello (Parisian premiere, 1894), and Wagner's Die Walküre (Parisian premiere, as La Valkyrie, 1893), Tannhäuser (new production, 1895) and Götterdämmerung (Opéra premiere, as Le crépuscule des dieux, 1908). In addition, Carpezat became a household name at the Comédie- Française (Sardou's Thermidor, 1891), Théâtre du Châtelet, Gaîté (Massenet's Hérodiade, 1903), Opéra-Comique (Delibes' Lakmé, 1898; Gounod's Mireille, 1901; Lalo's Le Roi d'Ys, 1888; Massenet's Manon, 1884 and 1898, Cendrillon, 1899 and Werther, 1903), Théâtre des Nations, Porte Saint-Martin (Sardou's Fédora, 1882 and Théodora, 1884, both starring Sarah Bernhardt; Rostand's Cyrano de Bergerac, 1897), and Variétés.