A superb new translation of one of the greatest nineteenth century poems: the libretto to Wagner's Ring cycle The scale and grandeur of Wagner's The Ring of the Nibelung has no precedent and no successor. It preoccupied Wagner for much of his adult life and revolutionized the nature of opera, the orchestra, the demands on singers and on the audience itself. The four operas-The Rhinegold, The Valkyrie, Siegfried and Twilight of the Gods - are complete worlds, conjuring up extraordinary mythological landscapes through sound as much as staging. Wagner wrote the entire libretto before embarking on the music. Discarding the grand choruses and bravura duets central to most operas, he used the largest musical forces in the context often of only a handful of singers on stage. The words were essential: he was telling a story and making an argument in a way that required absolute attention to what was said. The libretto for The Ring lies at the heart of nineteenth century culture. It is in itself a work of power and grandeur and it had an incalculable effect on European and specifically German culture. John Deathridge's superb new translation, with notes and a fascinating introduction, is essential for anyone who wishes to get to grips with one of the great musical experiences.

The Eisner Award-winning series, finally collected in one volume, presents one of the grandest stories of Western civilisation, one of the most explosive epics in the history of comics. Giants plot against gods, who in turn tear human lovers apart, the lives of great warriors are ruined and countless people are slain in the name of love and gold. This re-telling of the Ring Cycle marks a new high point in the career of this true artist's artist, and features a lavish index of production notes, sketches and commmentaries.

It portrays the existential struggles and downfall of an entire people, the Burgundians, in a military conflict with the Huns and their king."--Jacket.

Reproduction of the original: The Mentor, the Ring of the Nibelung by Henry T. Finck

Based on the author's Metropolitan Opera intermission radio talks. Bibliography: p. [103]-105.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.