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Aaron GinnDas Rheingold is the first opera in the Ring Cycle, or officially, Der Ring des Nibelungen. Rheingold marks a dramatic break in style of Wagner's first four operas. Wagner always considered himself an artist first and a musician second. He held in the highest regard the works of Shakespeare and the Greek playwrights. Wagner's ultimate goal was to incorporate drama and music into an all-encompassing artform which he termed Gesamtkunstwerk. He felt that music could enhance the dramatic experience in a way that mere words and actions never could. This idea would eventually reach its pinnacle in the finale of the Ring Cycle, Gotterdammerung.
Wagner's principle method of combining opera and drama into a new form was through the elimination of set pieces like arias, and the introduction of liberal use of the leitmotif. This allowed Wagner to use music to express actions, ideas, and even the innermost thoughts of the characters. Wagner even combines several motifs into a single musical idea when appropriate, for example, the end of Die Walkure, when Wotan seals the sleeping Brunnhilde in a ring of fire. In this excerpt, we hear an amalgam of the sleep and fire motifs along with the Siegfried motif that foreshadows her rescuer. Das Rheingold is the first opera that truly exhibits this new musical form.
Das Rheingold opens at the bottom of the Rhine with the famous prelude. Three maidens swim about a rock containing their most precious possession, the Rheingold. Suddenly, a Nibelung named Alberich appears and tries to woo the maidens. They mock and tease him viciously, always staying just out of his grasp. Alberich grows increasingly frustrated when suddenly, the Rheingold begins to glow brightly as its motif rings out. Alberich asks the maidens what it is, and he learns from the maidens that the gold contains the power to make its owner ruler of the world if it is fashioned into a ring. Only someone who renounces love can learn how to fashion the ring. The maidens assume that no one would ever forsake love, but Alberich, who has been spurned by the maidens, does just that. He rips the gold from the rock and disappears into the earth. The maidens scream woefully for help.
The scene shifts to the banks of the Rhine where Wotan, the chief god, lays sleeping and dreaming. His wife, Fricka, rouses him and chastises him for sleeping. Wotan has commissioned two giants, Fasolt and Fafner, to build a mighty fortress for him and the other gods. As payment for their work, he has promised to give them Freia, the goddess of love and the keeper of the apples that the gods feed upon. Fricka wants to know how Wotan is planning on escaping the terms of the bargain. Wotan states that he will find a way with the help of Loge, the god of fire and trickery.
Freia then enters the scene pleading for help followed by the giants then enter to resounding drums and brass in the orchestra and Fasolt demands Freia as payment now that the fortress has been completed. Wotan attempts to weasel his way out of the bargain, but Fasolt demands he honor their agreement stating that the giants merely want Freia to bring beauty to their lives as they are ugly and awkward. Fafner, who is more of a pragmatist than Fasolt, states that Freia is of little use to them other than the fact that she tends the apples that the gods eat. Without her, the gods are at the mercy of the giants. As the giants begin to attempt to seize Freia, Donner, the god of thunder, and Froh, the god of Spring, enter and attempt to defend Freia. To the motif of his spear, which represents oaths, Wotan orders them to cease and states that he must honor the agreement that he has made with the giants.
At this point, Loge enters and Wotan demands to know where he has been and to help him out of the predicament he is in. In a long narrative , Loge tells them that he has been searching the world for something more valuable than Freia's love to give to the giants, but he has found nothing that can compare to a woman's beauty and delight. He then slyly tells of how Alberich has foresworn love for riches by forging the Ring from the Rheingold and that he himself would try to get Wotan's help to give the Ring back to the Rhinemaidens. Wotan chastizes Loge for bringing him another problem to solve when he himself is already confronted with this one. Fafner, however, tells Wotan that they will give Freia back to the giants in exchange for the Ring. The giants then whisk Freia away, and the gods begin to feel the weakness that comes from not having Freia's apples anymore. Wotan orders Loge to go with him to Nibelheim, the abode of the Nibelungs, to get the Ring. The scene ends as Wotan and Loge descend into the earth and are greeted by the sound of hammers banging on anvils.
In Nibelheim, Alberich demands that his brother Mime, a master smith, give him the helmet he has commanded him to fashion. Mime tries to hide the Tarnhelm he has just finished, but Alberich snatches it away. Alberich places the Tarnhelm on his head and, after uttering a short spell, becomes invisible. He then administers a rough beating on his brother for trying to withhold the helmet from him. Wotan and Loge find Mime moaning on the ground and he tells them how Alberich has enslaved the Nibelungs and forced them to mine gold for him.
Alberich reappears driving a horde of Nibelungs forward with a whip as the furious Nibelheim motif sounds. He then spies the gods and asks them what they are doing in Nibelheim. Loge responds that they have come to see the mighty and powerful Alberich. Alberich begins boasting of his power and how he will eventually enslave even the gods. He tells them of the Ring and the Tarnhelm and their powers. With the Tarnhelm he can assume any shape he desires and with the Ring he can amass all the wealth he needs. Loge feigns disbelief that Alberich can change shapes at will. Alberich then dons the Tarnhelm and transforms himself into a giant serpent. Loge pretends to be terrified while Wotan pretends to be impressed and amused by Alberich's show. Loge then states that although Alberich transforming himself into a serpent is impressive, changing into a toad would be impressive as well as it would allow him to escape dangers unnoticed. He doubts aloud that Alberich can do it, though. Alberich takes the bait and changes into a toad, and the gods sieze him and take the Tarnhelm away. Alberich curses them as they all return to the surface.
Wotan demands a ransom from Alberich in return for his freedom. Alberich asks what Wotan wants, and Wotan responds that Alberich hand over the hoard of gold that the Nibelungs have mined. Alberich calls Wotan greedy, but realizes that he can gain more gold if he keeps the Ring. Alberich then summons the Nibelungs to bring forth the gold as the hoard motif sounds from the orchestra. Alberich asks to be freed, but Loge demands the Tarnhelm as well. Alberich reluctantly hands it over. Finally, Wotan demands the Ring. Alberich resists saying he will die before relinquishing the Ring. Wotan finally wrests it away by force and Loge releases Alberich.
Alberich places a curse on the Ring stating that all who possess it shall find nothing but trouble and death until it returns to its original owner and then flees the scene. Fasolt and Fafner return with Freia and demand payment. The gods pile the hoard in front of Freia so that Fasolt can no longer see her as he is reluctant to to give her up. The Tarnhelm is cast upon the pile as well. Finally, Fafner demands the Ring. Wotan steadfastedly refuses as Erda, the earth goddess, appears. She warns Wotan that doom awaits the gods and urges him to shun the Ring. Wotan is deeply disturbed by her words and finally gives the Ring to the giants in exchange for Freia. Immediately the giants begin arguing over who should possess the Ring. Fafner kills Fasolt with one blow as the gods marvel at the power of Alberich's curse. As Fafner departs, the gods approach the fortress which is shrouded in mist.
Donner ascends to the mountaintop to summon a storm to sweep the sky clear as his motif sounds and culminates in a mighty hammer blow. Froh then creates a rainbow bridge to the fortress as the other gods stand in silent awe. The Valhalla motif sounds as Wotan salutes the fortress with a sword he finds left over from the hoard. As the other gods climb the bridge, Loge says in an aside that they are approaching their doom as he debates whether to follow them or return to his fiery shape. Suddenly, the Rhinemaidens are heard lamenting their lost gold. In unison, they urge the gods to return it to them. Wotan tells Loge to silence them. Loge mocks the maidens and tells them that the gold no longer shines upon them and that they should bask in the glory of the gods from now on. The other gods laugh aloud, but the maidens continue their lament now adding that those who live above are false and faint of heart. The orchestra builds to a glorious climax composed of the sword, Valhalla, and rainbow motifs as the gods enter Valhalla.
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