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Der Ring des Nibelungen (The Ring of the Nibelung), WWV 86, is a cycle of four German-language epic music dramas composed by Richard Wagner.The works are based loosely on characters from Germanic heroic legend, namely Norse legendary sagas and the Nibelungenlied.
Siegfried (German: [ˈziːk.fʀiːt] ⓘ), WWV 86C, is the third of the four epic music dramas that constitute Richard Wagner's Der Ring des Nibelungen (English: The Ring of the Nibelung). It premiered at the Bayreuth Festspielhaus on 16 August 1876, as part of the first complete performance of The Ring cycle.
Das Rheingold (pronunciation ⓘ; The Rhinegold), WWV 86A, is the first of the four epic music dramas that constitute Richard Wagner's Der Ring des Nibelungen (English: The Ring of the Nibelung). It premiered as a single opera at the National Theatre of Munich on 22 September 1869, and received its first performance as part of the Ring cycle at ...
Götterdämmerung (German: [ˈɡœtɐˌdɛməʁʊŋ] ⓘ; Twilight of the Gods), [1] WWV 86D, is the last of the four epic music dramas that constitute Richard Wagner's Der Ring des Nibelungen (English: The Ring of the Nibelung).
Richard Wagner (1861) The evolution of Richard Wagner's epic operatic tetralogy Der Ring des Nibelungen (The Ring of the Nibelung) was a long and tortuous process, and the precise sequence of events which led the composer to embark upon such a vast undertaking is still unclear.
Wagner realised these ideas most fully in the first half of the 16-hour, four-opera cycle Der Ring des Nibelungen (The Ring of the Nibelung, also known simply as The Ring). Wagner's compositions, particularly those of his later period, are notable for their complex textures, rich harmonies and orchestration, and the elaborate use of leitmotifs ...
Only a 25-minute walk from the Escher Houses flats at 11-13 Zeltweg where Wagner composed “Rheingold,” "Die Walküre” and the first two acts of “Siegfried” from 1853-57, the Zurich Opera ...
Richard Wagner. Like his libretti, Wagner's operatic scores generally passed through a series of distinct stages from sketch to fair copy; but because the composer altered his method of musical composition several times during the writing of the Ring, there is not the same uniformity in the evolution of the music that we find in the texts.