Die Walküre
Jim and I recently saw the Metropolitan Opera high
definition cinecast of Die Walküre,
the second of the four Der Ring des Nebelungen. It touched me
deeply and unexpectedly. I originally decided to go on the strength of the
other HD operas we’ve seen. I’ve never been interested in Wagner, although I
have always loved his “Pilgrims’ Chorus”. The length of each opera was daunting
and off-putting. However, the movie, Wagner’s Dream, which
chronicled the production of the recent Met Ring cycle, piqued my interest.
I was totally unprepared for the emotional experience I had
during Die Walküre. There were no hummable tunes, I understood very
little of the German and was aware that the subtitles didn’t offer a complete
script. Yet, I was swept away and mesmerized. The four and a half hours seemed
short.
One reason for the peak experience was the skill of the
acting. Perhaps because I couldn’t follow all of the lyrics I was keyed into
the facial and bodily expressions of emotional and intent. I especially
appreciated Wotan, but I was drawn in by all the characters: Siegmund,
Sieglinde, Hunding, and Fricka.
But I think, even more than the acting, the themes and
emotions captured my imagination. The interactions: between husband and wife,
father and daughter, lovers, and enemies were so compelling. They touched
chords deep within me and I discovered that I yearn to explore those primal
emotions.
I’m intrigued with the concept of myth describing the human
condition. I enjoy thinking about how the Ring cycle compares to biblical
accounts and how George Lukas must have been influenced by Wagner and the
original Norse myths themselves.
Some religious parallels I saw: Siegmund is like Adam. He’s
imperfect and fallen and unable to save the world. Siegfried, born of an
outcast mother, but protected by Brunnhilde, is a savior figure. Fricka is
justice, Brunnhilde mercy.
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