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Der Ring des Nibelungen (The Ring of the Nibelung) is a cycle of four epic operas or 'music dramas' by the Germanmarker composer Richard Wagner (1813–1883). The operas are based loosely on characters from the Norse saga and the Nibelungenlied. The works are often referred to as "The Ring Cycle", "Wagner's Ring", or simply "The Ring".

Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four operas that constitute the Ring cycle are, in the order of the imagined events they portray: Although individual operas are performed as works in their own right, Wagner intended them to be a coherent whole, performed in a series.

History provides few examples of artistic purpose so consistently followed as that which produced Wagner's tetralogy Der Ring des Nibelungen. As early as the 1840s, Wagner began to search Teutonic and Norse mythology for material for his epic, and it was not until the end of 1874 that the last bar of Götterdämmerung ("The Twilight of the Gods") was scored. Wagner's first plan was to compose one opera only, to be called Siegfried's Death, and for this he wrote the poem, which follows roughly the same course as that of the present Götterdämmerung, in 1848. It soon became obvious, however, that so much preliminary explanation would be necessary if the events of Siegfried's Death were to be clear to the spectator that some kind of introductory drama was desirable. Thus Wagner planned a second work, to precede Siegfried's Death and to be called Young Siegfried, and then he added two others, so that the project eventually embraced the whole tetralogy of the Ring.

Wagner did not work exclusively on the Ring during the thirty-odd years between its original conception and its completion. The poems of the four operas were written in the late 1840s and early 1850s; the music for Das Rheingold was composed in 1853-54, that for Die Walküre in 1854-56; and in 1856-57 Wagner composed, though he did not score, the first two acts of Siegfried; but at this point he laid down his pen, as far as the Ring was concerned, for twelve years, producing in the meantime Tristan und Isolde and Die Meistersinger von Nürnberg. In 1869, however, he took up work on the Ring again, his enthusiasm and inspiration unimpaired, and in the years 1869-74 completed Siegfried and created the mighty finale to the tetralogy, Götterdämmerung. Das Rheingold was first performed at Munichmarker on 22 September 1869. Its first performance as part of the complete Ring cycle took place at Bayreuthmarker on 13 August 1876.

The title

Wagner's title is rendered in English as The Ring of the Nibelung. However the word Nibelung frequently confuses English speakers, resulting in misunderstanding of the German title, the English title, or how to use the word outside the title. The word Nibelung is in the singular. The Nibelung of the title is the dwarf Alberich, and the Ring in question is the one he fashions from the Rhinegold. The title therefore means "Alberich's Ring". In German the -en ending of Nibelungen and the article 'des' preceding it denotes the possessive (genitive) case. Because in English it is usual to use an apostrophe s to indicate the possessive for animate subjects, rather than the 'of the' construction which is usually used for inanimate subjects, the best translation would be 'The Nibelung's Ring'.


The cycle is a work of extraordinary scale. Perhaps the most outstanding facet of the monumental work is its sheer length: a full performance of the cycle takes place over four nights at the opera, with a total playing time of about 15 hours, depending on the conductor's pacing. The first and shortest opera, Das Rheingold, typically lasts two and a half hours, while the final and longest, Götterdämmerung, can take up to six and a half hours in performance.

The cycle is modelled after ancient Greek dramas that were presented as three tragedies and one satyr play. The Ring proper begins with Die Walküre and ends with Götterdämmerung, with Rheingold as a prelude. Wagner called Das Rheingold a Vorabend or "Preliminary Evening", and Die Walküre, Siegfried and Götterdämmerung were subtitled First Day, Second Day and Third Day, respectively, of the trilogy proper.

The scale and scope of the story is epic. It follows the struggles of gods, heroes, and several mythical creatures over the eponymous magic Ring that grants domination over the entire world. The drama and intrigue continue through three generations of protagonists, until the final cataclysm at the end of Götterdämmerung.

The music of the cycle is thick and richly textured, and grows in complexity as the cycle proceeds. Wagner wrote for an orchestra of gargantuan proportions, including a greatly enlarged brass section with new instruments such as the Wagner tuba, bass trumpet and contrabass trombone. Remarkably, he uses a chorus only relatively briefly, in Act II of Götterdämmerung, and then only of men. He eventually had a purpose-built theatre (the Bayreuth Festspielhausmarker) constructed in Bayreuthmarker in which to perform this work. The theatre has a special stage which blended the huge orchestra with the singers' voices, allowing them to sing at a natural volume. The result was that the singers do not have to strain themselves vocally during the long performances.

List of characters

  • The Gods
    • Wotan, King of the Gods (god of light, air, and wind) (bass-baritone)
    • Fricka, Wotan's wife, goddess of marriage (mezzo-soprano)
    • Freia, Fricka's sister, goddess of love, youth, and beauty (soprano)
    • Donner, Fricka's brother, god of thunder (baritone)
    • Froh, Fricka's brother, god of spring/happiness (tenor)
    • Erda, goddess of wisdom/fate/Earth (contralto)
    • Loge, demigod of fire (tenor in Das Rheingold, represented instrumentally elsewhere)
    • The Norns, the weavers of fate, daughters of Erda (contralto, mezzo-soprano, soprano)
  • The Wälsungs, offspring of Wotan (disguised as Wälse) and a mortal woman
  • The Valkyries, warrior-maidens, daughters of Wotan
    • BrĂĽnnhilde (soprano)
    • Waltraute (mezzo-soprano)
    • Helmwige (soprano)
    • Gerhilde (soprano)
    • Siegrune (mezzo-soprano)
    • Schwertleite (mezzo-soprano)
    • Ortlinde (soprano)
    • Grimgerde (mezzo-soprano)
    • Rossweisse (mezzo-soprano)
  • The Rhine Daughters (sometimes referred to as the Rhinemaidens)
  • Giants
  • Nibelungs
    • Alberich (baritone)
    • Mime, his brother, and Siegfried's foster father (tenor)
  • Mortals
    • Hunding, Sieglinde's husband, chief of the Neidings (bass)
    • Gunther, King of the Gibichungs, son of King Gibich and Queen Grimhilde (baritone)
    • Gutrune, his sister (soprano)
    • Hagen, their half-brother, son of Alberich and Queen Grimhilde (bass)
    • A male chorus of Gibiching vassals
  • The Voice of a Woodbird (soprano)


The plot revolves around a magic ring that grants the power to rule the world, forged by the Nibelung dwarf Alberich from gold he stole from the Rhinemaidens in the river Rhinemarker. Several mythic figures struggle for possession of the Ring, including Wotan , the chief of the gods. Wotan's scheme, spanning generations, to overcome his limitations, drives much of the action in the story. His grandson, the hero Siegfried wins the Ring, as Wotan intended, but is eventually betrayed and slain. Finally, the Valkyrie BrĂĽnnhilde, Siegfried's lover and Wotan's estranged daughter, returns the Ring to the Rhinemaidens. In the process, the Gods and their home, Valhalla, are destroyed.

Wagner created the story of the Ring by fusing elements from many Germanmarker and Scandinavian myths and folk tales. The Old Norse Eddas supplied much of the material for Das Rheingold, while Die Walküre was largely based on the Volsunga saga. Siegfried contains elements from the Eddas, the Volsunga Saga and Thidreks saga. The final opera, Götterdämmerung, draws from the 12th century High German poem known as the Nibelungenlied, which appears to have been the original inspiration for the Ring, and for which the cycle was named. For a detailed examination of Wagner's sources for the Ring, and his treatment of them, see among other works Deryck Cooke's unfinished study of the Ring, "I Saw the World End", and Ernest Newman's "Wagner Nights". For the philosophic ideas behind the Ring, see Bryan Magee's "Wagner and Philosophy". Also useful is a translation by Stewart Spencer ("Wagner's Ring of the Nibelung: Companion", edited by Barry Millington) which, as well as containing essays—including one on the source material—provides an English translation of the entire text which seeks to remain faithful to the early medieval Stabreim technique Wagner used.

In weaving these disparate sources into a coherent tale, Wagner injected many contemporary concepts. One of the principal themes in the Ring is the struggle of love, which is also associated with Nature and freedom, against power, which is associated with civilization and law. In the very first scene of the Ring, the scorned dwarf Alberich sets the plot in motion by renouncing love, an act that allows him to acquire the power to rule the world by means of forging a magical ring. In the last scene of that opera this ring of power is taken from him, so he places a curse on it: "Whosoever holds the ring, by the ring they shall be enslaved."

Since its inception, the Ring has been subjected to a plethora of interpretations. George Bernard Shaw, in "The Perfect Wagnerite", argues for a view of the Ring as an essentially socialist critique of industrial society and its abuses. Robert Donington in "Wagner's Ring and its Symbols" interprets it in terms of Jungian psychology as an account of the development of unconscious archetypes in the mind, leading towards individuation.


In his previous operas, Wagner had tried to make minimal use of recitative and scena ed aria. For the Ring he decided to do away with them entirely and adopted a through-composed style, whereby each act of each opera would be a continuous piece of music with no breaks whatsoever. In the essay Opera and Drama, (1852) Wagner describes the way in which poetry, music and the visual arts should combine to form what he called The Artwork of the Future. He called these artworks "music-dramas", and thereafter very rarely referred to his works as operas.

As a new foundation for his music-dramas, Wagner adopted the use of what he called Grundthemen, or "base themes", although they are usually referred to elsewhere as leitmotifs. These are recurring melodies and/or harmonic progressions, sometimes tied to a particular key and often to a particular orchestration. They musically denote an action, object, emotion, character or other subject mentioned in the text and/or presented onstage. Wagner referred to them in Opera and Drama as "guides-to-feeling", and described how they could be used to inform the listener of a musical or dramatic subtext to the action onstage in the same way as a Greek Chorus did for Attic Drama. While other composers before Wagner had already used leitmotifs, the Ring was unique in the extent to which they were employed, and in the ingenuity of their combination and development.

Any important subject in the Ring is usually accompanied by a leitmotif; indeed, there are long stretches of music which are constructed exclusively from them. One such example occurs in Götterdämmerung: Siegfried's journey down the river Rhine is described first through a rhapsody on the Siegfried theme which then merges into the Rhine theme and finally into the motifs denoting the Gibichung Hall. There are dozens of individual motifs scattered throughout the Ring. They often occur as a musical reference to a presentation of their subject onstage, or to a direct reference in the text, or more subtly implied by the text. Many of them appear in several operas, and some even in all four. Sometimes, as in the character of the Woodbird, a cluster of motives is associated with a single character.

As the cycle progresses, and especially from the third act of Siegfried on, these motives are presented in increasingly sophisticated combinations. Wagner also used Franz Liszt's technique of "metamorphosis of themes" to effect a dynamic development of many leitmotifs into quite different ones with a life all of their own. A clear example occurs in the transition from the first to the second scene of Das Rheingold, in which the musical theme associated with the ring of power, newly forged, transforms into that of Valhalla, Wotan's just-completed fortress, intended as a base from which he as chief of the gods can impose his law on the world, embodied by his spear. Thus an implication is made which is left unstated in the libretto; but regardless of how a listener might make the implied connection by associating the "ring" motive with Valhalla (which will be destroyed along with the ring), the burden of the argument at this point is entirely musical. The most important result of this kind of technique is the setting up of an infinitely complex web of musico-conceptual associations which continues to provide material for discussion.

Aspects of the leitmotif system did attract criticism for being too obvious. Some have misunderstood the function of leitmotifs, imagining them to be mere 'calling cards' whose function is tautological – simply informing the listener as to which character, object or idea has just arrived on stage or been mentioned; but this is no more what leitmotives are for than, for example, Debussy wrote La Mer to describe the sea to people who hadn't seen it for themselves. In particular, the leitmotivic profile of the cycle's end has attracted much criticism. George Bernard Shaw dismissed the final bars of the Ring (the so-called "Redemption through love" motif, heard only once before, in Die Walküre when Seiglinde learns that she is to bear Seigfried), saying "the gushing effect which is its sole valuable quality is so cheaply attained that it is hardly going too far to call it the most trumpery phrase in the entire tetralogy". Other critics, such as Theodor Adorno in his essay In Search of Wagner, have speculated that Wagner did not actually know how to end the cycle, and merely spun together a few obvious motives which were chosen simply because they were the most beautiful sounding. More veneratively Mark Doran has sought to explain the cycle's final bars as the 'all-knowing orchestra's "purely musical praise of Brünnhilde".

The advances in orchestration and tonality Wagner made in this work are of seminal importance in the history of Western music. He wrote for a very large orchestra, with a palette of seventeen different instrumental families used singly or in a myriad of combinations to express the great range of emotion and events of the drama. Wagner even went so far as to commission the production of new instruments, including the Wagner tuba, invented to fill a gap he found between the tone qualities of the horn and the trombone, as well as variations of existing instruments, such as the bass trumpet and a contrabass trombone with a double slide.

In addition Wagner weakened traditional tonality to the extent that most of the Ring, especially from Siegfried Act III onwards, cannot be said to be in traditionally defined "keys", but rather in "key regions", each of which flow smoothly into the following one. This fluidity avoided the musical equivalent of "full stops" or "periods", and was an important part of the style that enabled Wagner to build the work's huge structures - Das Rheingold is unbroken at two-and-a-half hours long. Tonal indeterminacy was heightened by the vastly increased freedom with which he used dissonance and chromaticism. Chromatically altered chords, as well as a variety of sevenths and ninths are used very liberally in the Ring, and this work, together with Tristan und Isolde, is frequently cited as a milestone on the way to Arnold Schoenberg's revolutionary break with the traditional concept of key and his rejection of consonance as the basis of an organising principle in music.


Wagner scored the Ring for an orchestra which, in his era, was exceptionally large. His score specifies the types and numbers of instruments for each of the four operas.

All four operas have a very similar instrumentation, requiring the following core ensemble of instruments:

Bowed-String Instruments:
16 First Violins
16 Second Violins
12 Violas
12 Cellos
8 Double basses

Woodwind Instruments:
3 Flutes
:(3rd Flute doubles 2nd Piccolo)
4 Oboes
:(4th Oboe doubles Cor Anglais)
3 Clarinets in A and B-flat
Bass ClarinetWagner writes the bass clarinet in both B-flat and A, as was typical in his era. See [5460]. A bass clarinet player today often uses only the B-flat bass clarinet, which is transposed down a semi-tone to play the A part.
3 Bassoons

Brass Instruments:
8 Horn
:(5th and 7th double Tenor Wagner Tubas,
:6th and 8th double Bass Wagner Tubas) Wagner himself invented the Wagner tuba, which was in two forms: the B-flat, tenor Wagner tuba and the F-natural, bass Wagner tuba. Contemporary makers have constructed a double instrument, which can play in both B-flat and in F-natural.
3 Trumpets
Bass Trumpet
3 Tenor-bass TrombonesThe tenor-bass trombone is a 19th Century instrument which is now generally obsolete. Modern orchestras use tenor trombones with F attachments.
Contrabass Trombone (doubles Bass Trombone)
Contrabass Tuba

Percussion Instruments:
2 Timpani pairs
Cymbals pair

Plucked-String Instruments:
6 Harps

Das Rheingold requires the following additional instruments:

Die WalkĂĽre requires the following additional instruments:

Siegfried requires the following additional instruments:

Götterdämmerung requires the following additional instruments

History of the Ring Cycle

Composition of the text

In summer 1848 Wagner wrote The Nibelung Myth as Sketch for a Drama, combining the medieval sources previously mentioned into a single narrative, very similar to the plot of the eventual Ring cycle, but nevertheless with substantial differences. Later that year he began writing a libretto entitled Siegfrieds Tod ("Siegfried's Death"). He was likely encouraged by a series of articles in the Neue Zeitschrift fĂĽr Musik, inviting composers to write a "national opera" based on the Nibelungenlied, a 12th century High German poem which, since its rediscovery in 1755, had been hailed by the German Romantics as the "German national epic". Siegfrieds Tod dealt with the death of Siegfried, the central heroic figure of the Nibelungenlied.

By 1850, Wagner had completed a musical sketch (which he abandoned) for Siegfrieds Tod. He now felt that he needed a preliminary opera, Der junge Siegfried ("The Young Siegfried", later renamed to "Siegfried"), in order to explain the events in Siegfrieds Tod. The verse draft of Der junge Siegfried was completed in May 1851. By October, he had made the momentous decision to embark on a cycle of four operas, to be played over four nights: Das Rheingold, Die WalkĂĽre, Der Junge Siegfried and Siegfrieds Tod.

The text for all four operas was completed in December 1852, and privately published in February 1853.

Composition of the music

In November 1853, Wagner began the composition draft of Das Rheingold. Unlike the verses, which were written as it were in reverse order, the music would be composed in the same order as the narrative. Composition proceeded until 1857, when the final score up to the end of Act II of Siegfried was completed. Wagner then laid the work aside for twelve years, during which he wrote Tristan und Isolde and Die Meistersinger von NĂĽrnberg.

By 1869, Wagner was living at Tribschenmarker on Lake Lucernemarker, sponsored by King Ludwig II of Bavaria. He returned to Siegfried, and, remarkably, was able to pick up where he left off. In October, he completed the final opera in the cycle. He chose the title Götterdämmerung instead of Siegfrieds Tod for this opera. In the completed work the gods are destroyed in accordance with the new pessimistic thrust of the cycle, not redeemed as in the more optimistic originally planned ending. Wagner also decided to show onstage the events of Das Rheingold and Die Walküre, which had hitherto only been presented as back-narration in the other two operas. These changes resulted in some discrepancies in the cycle, but these do not diminish the value of the work.


First productions

On King Ludwig's insistence, and over Wagner's objections, "special previews" of Das Rheingold and Die WalkĂĽre were given at the National Theatre in Munich, before the rest of the Ring. Thus, Das Rheingold premiered on September 22, 1869, and Die WalkĂĽre on June 26, 1870. Wagner subsequently delayed announcing his completion of Siegfried in order to prevent this opera, too, being premiered against his wishes.

Wagner had long desired to have a special festival opera house, designed by himself, for the performance of the Ring. In 1871, he decided on a location in the Bavarianmarker town of Bayreuthmarker. In 1872, he moved to Bayreuth, and the foundation stone was laid. Wagner would spend the next two years attempting to raise capital for the construction, with scant success; King Ludwig finally rescued the project in 1874 by donating the needed funds. The Bayreuth Festspielhausmarker opened in 1876 with the first complete performance of the Ring, which took place from August 13 to August 17.

In 1882, Londonmarker impresario Alfred Schulz-Curtius organized the first staging in the United Kingdommarker of the Ring Cycle, conducted by Anton Seidl and directed by Angelo Neumann.

The first production of the Ring in Italymarker was in Venicemarker (the place where Wagner died), just two months after his 1883 death, at La Fenicemarker.

Notable contemporary productions

The complete cycle is performed most years at the Bayreuth Festivalmarker: the first staging of a new production becomes a society event attended by many important and popular people like politicians, actors, musicians and sportsmen. Tickets are hard to get and are often reserved years in advance.

The Ring is a major undertaking for any opera company: staging four interlinked operas requires a huge commitment both artistically and financially. In most opera houses, production of a new Ring cycle will happen over a number of years, with one or two operas in the cycle being added each year. Bayreuth is unusual in that a new cycle is almost always created within a single year. The Ring cycle has been staged by opera companies in many different ways. Early productions often stayed close to Wagner's original Bayreuthmarker staging. Trends set at Bayreuth have continued to be influential. Following the closure of the Festspielhaus during the Second World War, the 1950s saw productions by Wagner's grandsons Wieland and Wolfgang Wagner (known as the 'New Bayreuth' style) which emphasised the human aspects of the drama in a more abstract setting. Perhaps the most famous modern production was the centennial production of 1976 directed by Patrice Chéreau and conducted by Pierre Boulez. Set in the industrial revolution, it replaced the depths of the Rhine with a hydroelectric power dam and featured grimy sets populated by men and gods in business suits. This drew heavily on the reading of the Ring as a revolutionary drama and critique of the modern world, famously described by George Bernard Shaw in 'The Perfect Wagnerite'. Early performances were booed but the audience of 1980 gave it a 90 minute ovation in its final year; the production is now generally regarded as revolutionary and a classic.

Ring productions tend to fall into two camps: those which try to remain fairly close to Wagner's original stage design and direction, and those which seek to re-interpret the Ring for modern audiences, often inserting stage pictures and action which Wagner himself might not recognise. The production by Peter Hall, conducted by Georg Solti at Bayreuthmarker in 1983 is an example of the former, while the production by Richard Jones at the Royal Opera Housemarker Covent Garden in 1994–1996, conducted by Bernard Haitink, is an example of the latter.

Another interesting complete Ring cycle was begun in 2004, performed by the English National Opera at the Coliseum Theatremarker near London'smarker Trafalgar Squaremarker. The production is notable for its use of contemporary minimalist sets and costumes. Many of the scenes look like rooms from Ikea and indeed the production is sponsored by the MFI furniture company.

Certain opera companies, such as the Seattle Opera, produce entirely new Ring cycles every 4 to 6 years. Seattle Opera's next cycle will be performed in August 2013, which will likely be the final use of the present production.

2004 saw the first full Australian production of the Ring Cycle, in Adelaidemarker, which was directed by Elke Neidhardt. The corresponding recordings are the first from the cycle to be released in the SACD format.

The Canadian Opera Company conducted its first complete Ring Cycle in 2006. This production of the Ring Cycle opened the new Four Seasons Centre for the Performing Artsmarker. This production saw four directors: Michael Levine (Das Rheingold), Atom Egoyan (Die Walkure), François Girard (Siegfried), and Tim Albery (Götterdämmerung).

The Royal Danish Opera performed a complete Ring cycle in May 2006 in its new waterfront home, the Copenhagen Opera Housemarker. This version of the ring tells the story from the viewpoint of BrĂĽnnhilde and has a distinct feminist angle. For example, in a key scene in Die WalkĂĽre, it is Sieglinde and not Siegmund who manages to pull the sword Notung out of a tree. At the end of the cycle, BrĂĽnnhilde does not die, but instead gives birth to Siegfried's child.

The Los Angeles Opera is in the midst of staging a new Ring production which has provoked an amount of controversy among local Wagner fans. It is designed and directed by the German artist Achim Freyer and conducted by James Conlon. The first performance of the complete cycle is scheduled for 2010.

It is possible to perform The Ring with fewer resources than usual. In 1990, the City of Birmingham Touring Opera (now Birmingham Opera Company), presented a two-evening adaptation (by Jonathan Dove) for a limited number of solo singers, each doubling several roles, and 18 orchestral players. This version made its American premiere at the Opera Theater of Pittsburgh, in Pittsburghmarker, Pennsylvaniamarker. Subsequently, it was performed in full at Long Beach Opera in January 2006, and was performed in full with the Opera Theater of Pittsburgh in July 2006.

Recordings of the complete Ring Cycle

The four operas together take about 15 hours, which makes for several records, tapes, or CDs, and a lot of studio time. For this reason, many full Ring recordings are the result of "unofficial" recording of live performances, particularly from Bayreuthmarker where new productions are often broadcast by German radio. Live recordings, especially those in monaural, may have very variable sound but often preserve the excitement of a performance better than a studio recording.

Here are some of the best-known and most appreciated recordings of the complete Ring Cycle:

The Solti recording was the first stereo studio recording of the complete cycle, and it remains popular. In a poll on the BBC Radio 3's long running radio programme CD Review, this set was voted as the greatest recording of the 20th century. Although Solti's was the first studio stereo recording, the cycle had previously been recorded live in stereo by Decca engineers at the Bayreuth Festival in 1955 under the baton of Joseph Keilberth. Although unavailable for over 50 years, this cycle has now been issued on CD and vinyl by Testament.

First-time buyers looking for a Ring recording are often recommended the Solti. Gramophone, for example, list it as their recommendation on their website. However, when their long-time Wagner critic Alan Blyth reviewed recordings of the Ring for the feature Building a Library on CD Review (then Stereo Review) in 1986, he favoured the Böhm and Furtwängler/RAI recordings. When John Deathridge carried out a follow-up review for the programme in 1992, he favoured parts of the Goodall, Haitink and Boulez cycles for individual operas and Levine overall.

The Ring cycle is also available in a number of video or DVD presentations. These include: The first four of these are also available as audio recordings.

Parodies and popular culture

Der Ring des Nibelungen, because of its size and seriousness, lends itself well to parody. One well-known parody is Chuck Jones's 1957 Looney Tunes cartoon What's Opera, Doc? in which Bugs Bunny plays BrĂĽnnhilde and Elmer Fudd plays Siegfried.

Gilbert and Sullivan's comic opera Iolanthe, which premiered in the same year that the Ring came to London (1882), appears to contain elements parodying the Ring and other Wagnerian operas, such as the use of leitmotifs and the character of the Fairy Queen, who can be seen as a comic version of BrĂĽnnhilde and other Wagnerian heroines.

Anna Russell's The Ring of the Nibelungs (An Analysis) is not really a parody, since it follows Wagner's story and actually discusses many of the Ring's leitmotifs as academically as she makes them entertaining. However, Russell draws attention to some of the more unusual elements in the plot that people often miss, to the delight of her audience. (She calls Brunnhilde "Siegfried's aunt" - she is actually the half-sister of both his parents.)

Anthony Burgess's version of the Ring Cycle is the 1961 novel The Worm and the Ring, which transposes the action to an Oxfordshire grammar school. The comic fantasist Tom Holt similarly chooses to set Expecting Someone Taller, his sequel to the Ring, in a rural English setting.

Jim Luigs and Scott Warrender's Das BarbecĂĽ is a comic adaptation of the Ring Cycle set in Texas. It was commissioned in 1991 by the Seattle Opera.

J. R. R. Tolkien's The Lord of the Rings appears to borrow some elements from Der Ring des Nibelungen; however, Tolkien himself denied that he had been inspired by Wagner's work, saying that "Both rings were round, and there the resemblance ceases." Some similarities arise because Tolkien and Wagner both drew upon the same source material for inspiration, including the Völsunga saga and the Poetic Edda. However, several researchers posit that both authors draw upon many of the same sources but Tolkien was indebted to some of the original developments, insights and artistic uses made of those in Wagner, such as the ring giving to its owner mastery of the world and its corrupting influence upon the minds and wills of its possessors.

There is evidence that Tolkien's denial of a relationship between his Ring and Nibelungen Ring "was an overreaction to the statements of" Ake Ohlmarks, Tolkien's Swedish translator, in his introduction to his much criticized translation of Lord of the Rings, that Tolkien "mixed material from various legends, some which mention no ring and one which concerns a totally different ring." Tolkien was infuriated by this statement and used the oft quoted "one sentence rebuttal" that "wasn't strictly accurate".

L. Frank Baum loved Wagner and freely appropriated his stories. In John Dough and the Cherub, a crazy musician shouts that he is "greater than Vogner". In Ozma of Oz, Dorothy returns to Oz and joins an expedition to rescue a family of hostages from the "Nome King", whose magic belt gives him the same powers as the Tarnhelm. In The Magic of Oz the deposed Nome King convinces an unworldly person to join his secret quest to regain his Magic Belt, and with it his power. Simpler references abound: potions of forgetfulness (a whole fountain full), dragons and other predatory beasts engaging in civil conversations with their intended victims (for instance, Dorothy and the Wizard in Oz, The Tin Woodman of Oz), an air-spirit lost (rather than banished) by her father (The Road to Oz), a pathologically-careless wandering boy favored by invisible supernatural female guardians (Sky Island).



  • Cooke, Deryck, I Saw the World End: A Study of Wagner's Ring. New York: Oxford University Press, 2000 ISBN 0-19-315318-1.
  • Di Gaetani, John Louis, Penetrating Wagner's Ring: An Anthology. New York: Da Capo Press, 1978. ISBN 978-0306804373
  • Gregor-Dellin, Martin, (1983) Richard Wagner: His Life, His Work, His Century. Harcourt, ISBN 0-15-177151-0
  • Holman, J.K. Wagner's Ring: A Listener's Companion and Concordance. Portland OR: Amadeus Press, 2001.
  • Lee, M. Owen, (1994) Wagner's Ring: Turning the Sky Round. Amadeus Press, ISBN 978-0879101862
  • Magee, Bryan, (2001) The Tristan Chord: Wagner and Philosophy. Metropolitan Books, ISBN 0-8050-6788-4
  • Magee, Bryan, (1988) Aspects of Wagner. Oxford University Press, ISBN 0-19-284012-6
  • May, Thomas, (2004) Decoding Wagner. Amadeus Press, ISBN 978-1574670974
  • Millington, Barry (editor) (2001) The Wagner Compendium. Thames and Hudson, ISBN 0-500-28274-9
  • Sabor, Rudolph, (1997) Richard Wagner: Der Ring des Nibelungen: a companion volume. Phaidon Press, ISBN 0-7148-3650-8
  • Spotts, Frederick, (1999) Bayreuth: A History of the Wagner Festival. Yale University Press ISBN 0-7126-5277-9

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