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.

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

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.

'The ideal interpreter of the Ring ... a fascinating and valuable study ... absorbing and convincing' Sunday Times The Ring of the Nibelung is one of the greatest works of art created in modern times. Roger Scruton's brilliant and passionate exploration of the drama, music, symbolism and philosophy of Wagner's masterpiece - with its themes of love, death, sacrifice and freedom - shows how, ultimately, it expresses the truth about the human condition. 'Highly original and penetrating ... tremendous' Tim Blanning, Literary Review 'A rich, historical account ... After reading this book, only the most unadventurous reader would turn down the chance to see Wagner's masterpiece' Economist 'A brilliant gallop through the master's religious, musical and philosophical contexts' Sue Prideaux, Spectator 'Scruton is one of the finest philosopher-musicians since Schopenhauer' Jonathan Gaisman, Standpoint

In 1848 Richard Wagner began what would become the largest stage work of his career, the Ring of the Nibelung. In preparation for the task he composed an overview of the Nibelung myth designed to lead to a drama; he then composed the verse "libretto" Siegfried's Death. Although he abandoned the idea of a single opera on Siegfried in favor of the huge project that developed out of it in the succeeding years -- the Ring cycle -- he did consider the two early documents important enough to include them in his collected works. The present volume seeks to inform the English-speaking reader in three ways: by providing modern, reliable translations of the two Wagner texts, which are otherwise not available (the German original is provided on facing pages); by furnishing an overview of German scholarship available to Wagner and others working on the Nibelung legend in the first half of the nineteenth century; and by making available a bibliography of further reading. The volume will be useful to students of musicology, to students and historians of myth and legend, and to all Wagnerians interested in the genesis of the Ring cycle. Accessible to the general reader, it maintains scholarly rigor and provides information about materials not available in English. Edward R. Haymes is Professor in the Department of Modern Languages at Cleveland State University.

Today, more than a century after its first performance, Richard Wagner's The Ring of Nibelung endures as one of the most significant artistic creations in the history of opera. This monumental work not only altered previously accepted concepts of music and drama but also inspired creative and intellectual efforts far beyond the field of opera. Previous studies of the Ring have appealed only to those already acquainted in some way with the Wagnerian art. For the uninitiated, Wagner and his landmark creation have seemed forbidding, and those eager to learn about the masterpiece have faced a vast and frequently esoteric body of commentary. Professor Cord addresses the interests of the non-specialist by taking the reader first into Wagner's unique intent, and then through the complete history of the Ring. Cord, who has attended forty performances of the Ring, considers the conception of the poem, its development into a music-drama exemplifying Wagnerian thought, its introduction to the world, and the reactions and interpretation it elicits.