Götterdämmerung post-in-progress

Siegfried tries to awaken Brünnhilde

[As SIEGFRIED approaches the sleeper again, he is again filled with tender emotion at the sight of her. He bends over her.]
Sweet and quivering, her lovely mouth.
A gentle gladness charms fear from my heart!
Ah! how enchanting her warm, fragrant breath!
[As if in despair] Awaken! Awaken! Holiest maid!

-- from Siegfried, Act III, Scene 3; singing translation by
Andrew Porter (used in the Remedios-Goodall performance)

[in English] Alberto Remedios (t); Reginald Goodall, cond. (Aug. 1973, live)

Lauritz Melchior (t); Robert Heger, cond. (May 12, 1930, studio)

Lauritz Melchior (t); Artur Bodanzky, cond. (Jan. 30, 1937, live)

Günther Treptow (t); Rudolf Moralt, cond. (1949, live)

Set Svanholm (t); Wilhelm Furtwängler, cond. (Mar. 23, 1950, live)

Wolfgang Windgassen (t); Karl Böhm, cond. (July 1966, live)

Siegfried Jerusalem (t); Daniel Barenboim, cond. (June-July 1992, live)

by Ken





Die Walküre: from the final scene of Act III --

[1] end of the Wotan-Brünnhilde dialogue, from Brünnhilde, "Was hast du erdacht, das ich erdulde?," and start of Wotan's "Farewell":

BRÜNNHILDE: What have you decreed
that I must suffer?
WOTAN: In long, deep sleep
you shall be bound:
the man who wakes you again,
that man shall make you his wife!
BRÜNNHILDE [falls on her knees]: If fetters of sleep
come to bind me
and I must fall
to the man who finds me,
then one thing more you must grant me:
in deepest anguish I pray!
O shelter my slumbers,
protect me with terrors,
let only one
who is fearless and free,
none but a hero
find me here!
WOTAN: Too much you are asking,
too great a grace!
BRÜNNHILDE [embracing his knees]:
This one thing more
you must grant me!
Oh, kill me at once
as I grasp your hand;
destroy your dear one,
condemn her to die,
let her breast receive
one blow from your spear;
but ah! cast not this shame,
this cruel disgrace on her!
[With wild inspiration] At your command
a flame can be kindled,
a fiery guardian,
girding the rock,
to lick with its tongues,
to tear with its teeth
the craven who rashly ventures,
who dares to approach near the rock.
WOTAN [overcome and deeply moved, turns eagerly towards BRÜNNHILDE, raises her from her knees, and gazes with emotion into her eyes]: Farewell, my valiant, my glorious child!
You were the the holiest pride of my heart!
Farewell! Farewell! Farewell! . . .

[2] the end of "Wotan's Farewell" (and of the opera),
from: "So kehrt der Gott sich dir ab":

WOTAN [sadly grasps BRÜNNHILDE's head in his hands]:
And sadly the god must depart:
one kiss takes your godhead away!
[He presses a long kiss on her eyes. She sinks back with closed eyes, unconscious, in his arms. He gently supports her to a low mossy bank, which is overshadowed by a wide-branching fir tree, and lays her upon it. He looks upon her and closes her helmet; his eye then rests upon the form of the sleeper, which he completely covers with the great steel shield of the Valkyrie. He turns slowly away, then turns round again with a sorrowful look. Then he strides with solemn decision to the middle of the stage, and directs the point of his spear towards a massive rock.]
Loge, here!
Come at my call!
As when first you were found,
a fiery glow,
as when you escaped me,
a wandering flicker;
once you were bound:
be so again!
Arise! Come, wavering Loge!
Surround the rock; ring it with flame!
[During the following he strikes the rock three times with his spear.]
Loge! Loge! Appear!
[A flash of flame leaps from the rock, and gradually increases to an ever-brightening fiery glow. Flickering flames break out. Bright, shooting flames surround WOTAN. With his spear he directs the sea of fire to encircle the rocks; it presently spreads toward the background, where it encloses the mountain in flames.]
Only the man
who braves my spear-point
can pass through the sea of flame!
[He stretches out the spear as if casting a spell. Then he gazes sorrowfully back at BRÜNNHILDE, turns slowly to depart, and looks back once more before he disappears through the fire. The curtain falls.]

-- singing translations by Andrew Porter,

used in the Goodall-ENO performance

[1] Brünnhilde, "What have you decreed that I must suffer?"

[2] Wotan, "And sadly the god must depart"

[in English] Rita Hunter (s), Brunnhilde (in [1]); Norman Bailey (b), Wotan; English National Opera Orchestra, Reginald Goodall, cond. EMI-Chandos, recorded live, December 1975

[1] Brünnhilde, "Was hast du erdacht, das ich erdulde"

[2] Wotan, "Denn so kehrt der Gott sich dir ab"

Birgit Nilsson (s), Brünnhilde (in [1]); Hans Hotter (bs-b), Wotan; Vienna Philharmonic, Georg Solti, cond. Decca, recorded Oct.-Nov. 1965

[1] Brünnhilde, "Was hast du erdacht, das ich erdulde"

[2] Wotan, "Denn so kehrt der Gott sich dir ab"

Kirten Flagstad (s), Brünnhilde (in [1]); Ferdinand Frantz (bs-b), Wotan; Orchestra of the Teatro alla Scala, Wilhelm Furtwängler, cond. Live performance, Mar. 9, 1950

[1] Brünnhilde, "Was hast du erdacht, das ich erdulde"

[2] Wotan, "Denn so kehrt der Gott sich dir ab"

Martha Mödl (s), Brünnhilde (in [1]; Ferdinand Frantz (bs-b), Wotan; RAI Rome Symphony Orchestra, Wilhelm Furtwängler, cond. EMI, live concert performance of Act III, Nov. 27, 1953

[1] Brünnhilde, "Was hast du erdacht, das ich erdulde"

[2] Wotan, "Denn so kehrt der Gott sich dir ab"

Frida Leider (s), Brünnhilde (in [1]); Friedrich Schorr (bs-b), Wotan; Berlin State Opera Orchesstra, Leo Blech, cond. EMI, recorded Sept. 10 ("Was hast du erdacht") and June 17 ("Leb' wohl" and "Denn so kehrt der gott"), 1927


Siegfried: Act III, Siegfried, "Wie weck' ich die Maid?" . . . Brünnhilde, "Heil dir, Sonne"

SIEGFRIED: How waken the maid,
and see her eyes gently open?
Will they not dazzle and blind?
How can I dare
to gaze on their light?
Beneath my feet
the ground seems to sway!
Anguish and yearning
conquer my courage;
on my heart beating wildly
trembles my hand!
Am I a coward?
Is this what fear is?
O mother! Mother --
your bold fearless child --
a woman lies here in sleep,
["im Schlafe liegt eine Frau"]
and she now has taught me to fear!
How conquer my fear?
How steel my heart?
If I am to awaken myself,
first the maid must awaken.
[As he approaches the sleeper again, he is again filled with tender emotion at the sight of her. He bends over her.]
Sweet and quivering,
her lovely mouth.
A gentle gladness
charms fear from my heart!
Ah! how enchanting
her warm, fragrant breath!
[As if in despair] Awaken! Awaken! Holiest maid!
["Erwache! Erwache! Heiliges Weib!"]
[He gazes upon her.]
She hears me not.
[Slowly, with tense and urgent expression]
Then lilfe I shall gather
from lips filled with sweetness --
what though I die by this kiss!
[He sinks, as if dying, on the sleeping figure, and with closed eyes presses his lips to hers.]
"Awakening" music
[BRÜNNHILDE slowly rises to a sitting position, She raises her arms in solemn gestures, greeting the heaven and earth that now she sees again.]
BRÜNNHILDE: Hail, bright sunlight!
["Heil dir, Sonne!"]
Hail, fair sky!
Hail, o radiant day!
Long was my sleep,
but now I am awake:
Who is the man
wakes me to life?
SIEGFRIED [deeply moved by her look and her voice, stands as if rooted to the spot]:
I have braved the dangers
blazing round your rock;
from your head I unclasped the helm.
Siegfried wakes you,
brings you to life.
BRÜNNHILDE [sitting straight up]: Wotan, hear me!
Hear me, world!
Hear me, glorious nature!
My sleep is at an end;
awake, I see
Siegfried! Siegfried
has brought me life!
SIEGFRIED [breaks out in ecstasy]: I bless my mother,
giving me birth!
bless the earth
that gave me my strength!
Now I behold those eyes,
bright stars which laugh on my joy!
BRÜNNHILDE [overlapping, in impassioned accents]:
I bless your mother,
giving you birth!
bless the earth,
that gave you your strength.
Your eyes alone could behold me,
my heart to you alone wakes!
[Each remains in radiant, rapt contemplation of the other.]

[in English] ["A woman lies here in sleep" at 2:09; "Awaken! Awaken! Holiest maid!" at 4:48; "Awakening" music at 7:36; "Hail, bright sunshine" at 9:55] Alberto Remedios (t), Siegfried; Rita Hunter (s), Brunnhilde; Sadler's Wells Opera Orchestra, Reginald Goodall, cond. EMI-Chandos, recorded live, August 1973

["Im Schlafe liegt eine Frau" at 1:39; "Erwache! Erwache! Heiliges Weib!" at 3:47; "Awakening" music at 6:36; "Heil dir, Sonne" at 9:00] Siegfried Jerusalem (t), Siegfried; Anne Evans (s), Brünnhilde; Bayreuth Festival Orchestra, Daniel Barenboim, cond. Teldec, recorded live, June-July 1992

["Im Schlafe liegt eine Frau" at 1:35; "Erwache! Erwache! Heiliges Weib!" at 3:39; "Awakening" music at 6:17; "Heil dir, Sonne" at 8:10] Wolfgang Windgassen (t), Siegfried; Birgit Nilsson (s), Brünnhilde; Bayreuth Festival Orchestra, Karl Böhm, cond. Philips, recorded live, July 1966


[from "Awakening" music only; "Heil dir, Sonne" at 1:07] Frida Leider (s), Brünnhilde; Rudolf Laubenthal (t), Siegfried; Berlin State Opera Orchestra, Leo Blech, cond. EMI, recorded Aug. 27, 1927

["Im Schlafe liegt eine Frau" at 1:38; "Erwache! Erwache! Heiliges Weib!" at 3:35; "Awakening" music at 5:56; "Heil dir, Sonne" at 7:19] Lauritz Melchior (t), Siegfried; Florence Easton (s), Brünnhilde; London Symphony Orchestra* (up to "Awakening" music) and Covent Garden Orchestra† (from there), Robert Heger, cond. EMI, recorded *May 12, 1930 and †May 29, 1932

["Im Schlafe liegt eine Frau" at 1:06; "Erwache! Erwache! Heiliges Weib!" at 2:39; "Awakening" music at 5:11; "Heil dir, Sonne" at 7:03] Lauritz Melchior (t), Siegfried; Kirsten Flagstad (s), Brünnhilde; Metropolitan Opera Orchestra, Artur Bodanzky, cond. Live performance, Jan. 30, 1937

["Im Schlafe liegt eine Frau" at 1:35; "Erwache! Erwache! Heiliges Weib!" at 3:27; "Awakening" music at 5:56; "Heil dir, Sonne" at 7:50] Set Svanholm (t), Siegfried; Kirsten Flagstad (s), Brünnhilde; Orchestra of the Teatro alla Scala, Wilhelm Furtwängler, cond. Live performance, Mar. 23, 1950

["Im Schlafe liegt eine Frau" at 1:41; "Erwache! Erwache! Heiliges Weib!" at 3:39; "Awakening" music at 6:14; "Heil dir, Sonne" at 8:15] Günther Treptow (t), Siegfried; Gertrude Grob-Prandl (s), Brünnhilde; Vienna Symphony Orchestra, Rudolf Moralt, cond. Myto, live concert performance, 1949









Götterdämmerung: Prologue: First Norn, "Welch' Licht leuchtet dort?"

On the Valkyrie Rock: The scene is the same as at the close of The Valkyrie It is night. Firelight shines up from the depths of the background.

The three Norns, tall female figures in long, dark, veil-like drapery. The First (the oldest) is lying in the foreground on the right, under the spreading pine tree; the Second (younger) reclines on a rock in front of the cave; the Third (the youngest) sits in the center at the back on a rock below the peak. Gloomy silence and stillness.

FIRST NORN [without moving]: What light shines down there?
SECOND NORN: Can it be day so soon?
THIRD NORN: Loge's flames
leap and flicker round the rock.
It is night.
And so we must sing as we spin.
SECOND NORN [to the FIRST]: Let us be spinning and singing;
but where, where 'tis the cord?
FIRST NORN [rises, unwinds a golden rope from herself, and ties one end of it to a branch of the pine tree]:
Though good or ill may come,
weaving the cord, I'll sing now.
At the World-Ash-tree once I wove,
when fair and green there grew from its branches
verdant and shady leaves.
Those cooling shadows sheltered a spring;
wisdom's voice I heard in its waves;
I sang my holy song.
A valiant god came to drink at the spring,
and the price he had to pay was the loss of an eye.
From the World-Ash-tree mighty Wotan broke a branch;
and his spear was shaped from that branch he tore from the tree.
As year succeeded year, the wound slowly weakened the tree;
dry, leafless, and barren -- death seized on the tree;
whispering waters then failed in the spring;
grief and sorrow stole through my song.
And so I weave at the World-Ash-tree no more;
today I use these branches to fasten the cord.
Sing, my sister, take up the thread;
what will happen now?

Anne Collins (c), First Norn; Gillian Knight (ms), Second Norn; Anne Evans (s), Third Norn; English National Opera Orchestra, Reginald Goodall, cond. EMI-Chandos, recorded live, August 1977

Margarete Klose (c), First Norn; Hilde Rössl-Majdan (ms), Second Norn; Sena Jurinac (s), Third Norn; RAI Rome Symphony Orchestra, Wilhelm Furtwängler, cond. EMI, live concert performance of the first act, Nov. 20, 1953

Jean Madeira (c), 1st Norn; Irene Dalis (ms), 2nd Norn; Martina Arroyo (s), 3rd Norn; Metropolitan Opera Orchestra, Erich Leinsdorf, cond. Live performance, Jan. 27, 1962

Batyah Godfrey Ben-David (c), 1st Norn; Mignon Dunn (ms), 2nd Norn; Nell Rankin (s), 3rd Norn; Metropolitan Opera Orchestra, Rafael Kubelik, cond. Live performance, Mar. 23, 1974

Lili Chookasian (c), 1st Norn; Anna Reynolds (ms), 2nd Norn; Nell Rankin (s), 3rd Norn; Metropolitan Opera Orchestra, Sixten Ehrling, cond. Live performance, Mar. 29, 1975

Marjana Lipovšek (c), First Norn; Ingrid Karrasch (ms), Second Norn; Penelope Thorn (s), Third Norn; Bavarian State Orchestra, Wolfgang Sawallisch, cond. EMI, recorded live at the Bavarian State Opera, November 1989

Helga Dernesch (c), First Norn; Tatiana Troyanos (ms), Second Norn; Andrea Gruber (s), Third Norn; Metropolitan Opera Orchestra, James Levine, cond. DG, recorded May 1989