Incautiously the maidens inform him that he who gains this glittering hoard, should he weld it into a ring, will become lord of the wide world. Here the listener should note the striking Renunciation of Love theme, which constantly recurs in the course of the tragedy; not necessarily always in connection with the ring, but always in connection with Renunciation in one form or another It is, the girls teasingly add, a hopeless case for the love-sick dwarf.
But Alberich sees it otherwise. He has failed in his attempt to win one of the Undines. Now he is smitten with the lust for boundless power; and in a fit of frenzy, uttering the awful cry, "Love I forswear for ever," he climbs the rock, tears away the shining treasure, and vanishes amid a scene of the wildest confusion. Night closes in; darkness envelops the stage; the wailing of the dismayed Rhine-maidens, mourning for their guardian gold, is alone heard in the gloom.
From the depths of the Rhine we are now transferred to a high ridge of mountains, at the foot of which is a grassy plateau. Walhalla, the destined abode of the gods, is seen in the distance, its stately pinnacles piercing the sky. In the foreground Wotan, the supreme god of Northern mythology, lies asleep in the flowery meadow, his wife Fricka, the Teutonic equivalent of Juno, by his side. A solemn melody, expressive of divine splendour and dignity, is here emitted from the orchestra.
Wotan speaks in his dream, telling of the palace built for him by the giants, Fafner and Fasolt, as at once the symbol and safeguard of his power. Fricka wakes him from his fond delusions. She reminds him of the price to be paid -- of how he had agreed with the giants to give them, as a reward for the building of Walhalla, her sister Freia, the goddess of youth and love and beauty. Fricka proceeds to explain how she had "urged the building of Walhalla in the hope that it might allure Wotan to rest, and reproaches him with having sacrificed to the desire of might and power the worth of womanly love.
Wotan tells them they cannot have Freia; the giants remonstrate, insisting on the bond. A long and warm discussionensues. The giants advance menacingly towards Freia; two other mighty gods, Donner and Froh, brothers of Freia, come hastily to her assistance. The giants are prepared to fight for their rights, but the entrance of Loge, the fire god, effects a diversion. Loge tells how he has searched in vain for a ransom for Freia. Then he explains the uses to which the gold meanwhile fashioned into a ring by Alberich may be put.
Froh suggests the rape of the ring from Alberich. Gods and goddesses listen eagerly to his description. The potent power of the gold and its splendour moves their innermost desire; even the giants cannot resist its temptation.
For this gold, they declare, they will forego their lovely prey. He declines to give up Freia; where upon the giants carry off Freia, dragging their way over stock and stone down to the valley of the Rhine. Here the scene changes: a pale mist obscures the stage, giving an old and worn aspect to the gods. This animates Wotan with a sudden resolution. To preserve his eternal youth, he will waive his dignity.
Here, as Dr. Hueffer observes, we touch upon one of the keynotes of the whole drama. The gods, by their desire of splendour, have incurred a debt to their enemies the giants; to pay this, they are now intent on "theft from the thief," their object being, not to return the spoil to the lawful owners, as becomes their office, but to buy back their forfeited youth. In this act of wilful selfishness lies the germ of their doom. The next scene is marked by broad touches of primitive coarseness.
His th birthday is being celebrated in , and nowhere more than in the city of his birth, Cologne, Germany. A timeless artist and hip-hop legend, Kurtis Blow blazed the trail for early hip-hop artists and continues to carry the torch for hip-hop music in new arenas. The tragedy is obvious. COM in 30 languages. After some adventurous wilderness time, Mikal Cronin builds on his indie rock style to draft a compelling new direction with Seeker. It took Wagner over 25 years to complete the cycle.
The prelude, with its pronounced rhythmical accents, and its noise of hammers and anvils behind the scenes, indicates that we are nearing Nibelheim, the country of Alberich, the home of the Nibelungs. The vapour thickens and fills the stage. A subterranean cavern is dimly discerned, from one of the passages of which Alberich emerges, dragging with him his shrieking brother, Mime. Mine, the cleverest smith of them all, has been endeavouring to conceal, for his own benefit, a magic cap wrought of the Rhinegold, and known as the Tarnhelm. It renders its wearer invisible, and enables him to assume any form he pleases, as well as to travel to any distance in a moment of time.
Cruel flagellations, alternating with the howls of the victims, are here most realistically depicted by the music; the grotesqueness of the whole scene being in exquisite contrast with the passionate but aristocratic bearing of the upper gods. Loge and Wotan descend above to find Mime groaning on the floor of the cavern, bemoaning his fate.
They question him, and are told how Alberich, by the power of the ring, compels the Nibelungs to do his bidding, and has thus forced him to make the Tarnhelm. Alberich now reappears, urging before him a crowd of Nibelungs laden with gold and silver, which they pile in a heap under his directions.
Taken thus unawares, Alberich first changes himself into a monstrous snake and then into a toad. Alberich, now struggling in his own form, is bound secured by the gods, who, carrying him off to the upper world, demand that he shall order the Nibelungs to bring the treasure from their subterranean regions.
Linford: I have a folder on my desktop called poems to save a life. It was a crash course in all things medical, medicinal, legal, health care. And my mother was a nurse for almost 50 years, so I was no stranger to the terminology, to that world. But this was unbelievable. So tragic and so stressful. I was the first of most of my friends to have to go through this. And because her stroke was so severe, her recovery, transition and residency had to take place in a full-time skilled nursing care facility — aka a nursing home.
I think that makes me more relieved than proud. Each of these folks is a walking novel, and the temptation is to allow them to be reduced to little more than an illness or old age.
We liken the world of the nursing home to a head-on collision between comedy and tragedy. The tragedy is obvious. The comedy is the grace we are given to handle the tragedy we would not otherwise be able to take. For singing my heart out every night. For fairness and tenacity.
For being a good wife and partner, a good friend and a good dog mama. Linford: The song, "Hallelujah", by Leonard Cohen. I love the blend of sensuality and spirituality, his virtuoso facility with utterly fresh language, the danger and beauty that pervades every pore of the pulsing song. Linford: I can clear a pretty nice path through the woods. If we walk together and you ask, I can call out all the names of the trees: the red maple, the hawthorn, the tupelo, the pin oak, the sweet gum, the persimmon, the box elder, the wild black cherry, the staghorn sumac, the ash, the white pine, the norway spruce, the American elm the Canadian hemlock, the beech, the honey locust, the shagbark hickory, the sugar maple, the silver maple etc.
I learned to trust my hands. When Karin and I bought our small farm in Ohio, he encouraged us to leave the edges wild so that the songbirds could have thorny hidden places for their wild music. I miss him. But we followed his advice. I mostly play the piano now with my eyes closed. And a lone mockingbird often lingers along the wild edges of our land.
A couple of semi-starving songwriters Linford: Damn, they both have their place. Sign me up.
Linford: Probably my wife. Karin and I have a rule on the road where we have to eat at least one meal a day in a restaurant that serves wine. Keeps it civilized. Some of our friends wonder how we pull it off.