1.
Gesamtkunstwerk
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A Gesamtkunstwerk is a work of art that makes use of all or many art forms or strives to do so. The term is a German word which has come to be accepted in English as a term in aesthetics, the term was first used by the German writer and philosopher K. F. E. Trahndorff in an essay in 1827. The German opera composer Richard Wagner used the term in two 1849 essays, and the word has become associated with his aesthetic ideals. It is unclear whether Wagner knew of Trahndorffs essay, in the twentieth century, some writers applied the term to some forms of architecture, while others have applied it to film and mass media. Some elements of opera reform, seeking a more classical formula, had begun at the end of the 18th century and this movement, reform opera is primarily associated with Christoph Willibald Gluck and Ranieri de Calzabigi. Others who wrote on syntheses of the arts included Gottfried Lessing, Ludwig Tieck, carl Maria von Webers enthusiastic review of E. T. A. He also used in these essays many similar such as the consummate artwork of the future and the integrated drama. Such a work of art was to be the clearest and most profound expression of folk legend, Wagner felt that the Greek tragedies of Aeschylus had been the finest examples so far of total artistic synthesis, but that this synthesis had subsequently been corrupted by Euripides. Wagner felt that during the rest of history up to the present day the arts had drifted further and further apart. Wagner felt that such works celebrated bravura singing, sensational stage effects, in Art and Revolution Wagner applies the term Gesamtkunstwerk in the context of Greek tragedy. In The Art-Work of the Future he uses it to apply to his own, as yet unrealised, ideal. In his extensive book Opera and Drama he takes these ideas further, describing in detail his idea of the union of opera and drama, in which the individual arts are subordinated to a common purpose. It has been argued by historian Robert L. Delevoy that Art Nouveau represented an essentially decorative trend that thus lent itself to the idea of the architectural Gesamtkunstwerk. But it is possible it was born from social theories that arose out of a fear of the rise of industrialism. However evidence of complete interiors that typify the concept of Gesamtkunstwerk can be some time before the 1890s. There was a trend amongst architects in the 18th and 19th centuries to control every facet of an architectural commission. As well as being responsible for just the structure they tried to extend their role to include designing every aspect of the work as well. This included not only the architectural features but was extended to the design of furniture, carpets, wallpaper, fabrics
2.
Richard Wagner
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Wilhelm Richard Wagner was a German composer, theatre director, polemicist, and conductor who is primarily known for his operas. Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works and he described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen and his advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, greatly influenced the development of classical music. His Tristan und Isolde is sometimes described as marking the start of modern music, Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. The Ring and Parsifal were premiered here and his most important stage works continue to be performed at the annual Bayreuth Festival, until his final years, Wagners life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His controversial writings on music, drama and politics have attracted extensive comment, notably, since the late 20th century, where they express antisemitic sentiments. The effect of his ideas can be traced in many of the arts throughout the 20th century, his influence spread beyond composition into conducting, philosophy, literature, Richard Wagner was born to an ethnic German family in Leipzig, where his family lived at No. 3, the Brühl in the Jewish quarter and he was baptized at St. Thomas Church. He was the child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife, Johanna Rosine. Wagners father Carl died of typhus six months after Richards birth, afterwards his mother Johanna lived with Carls friend, the actor and playwright Ludwig Geyer. In August 1814 Johanna and Geyer probably married—although no documentation of this has found in the Leipzig church registers. She and her family moved to Geyers residence in Dresden, until he was fourteen, Wagner was known as Wilhelm Richard Geyer. He almost certainly thought that Geyer was his biological father, Geyers love of the theatre came to be shared by his stepson, and Wagner took part in his performances. In his autobiography Mein Leben Wagner recalled once playing the part of an angel, in late 1820, Wagner was enrolled at Pastor Wetzels school at Possendorf, near Dresden, where he received some piano instruction from his Latin teacher. He struggled to play a scale at the keyboard and preferred playing theatre overtures by ear. Following Geyers death in 1821, Richard was sent to the Kreuzschule, at the age of nine he was hugely impressed by the Gothic elements of Carl Maria von Webers opera Der Freischütz, which he saw Weber conduct. At this period Wagner entertained ambitions as a playwright and his first creative effort, listed in the Wagner-Werk-Verzeichnis as WWV1, was a tragedy called Leubald. Begun when he was in school in 1826, the play was influenced by Shakespeare
3.
Das Rheingold
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Das Rheingold, WWV 86A, is the first of the four music dramas that constitute Richard Wagners Der Ring des Nibelungen, or in English, The Ring of the Nibelung. Das Rheingold premiered at the National Theatre Munich on 22 September 1869, with August Kindermann in the role of Wotan, Heinrich Vogl as Loge, and Karl Fischer as Alberich. Wagner wanted this work to premiere as part of the entire cycle, the work was first performed as part of the complete cycle on 13 August 1876, in the Bayreuth Festspielhaus. Although Das Rheingold comes first in the sequence of Ring operas, so in August 1851, Wagner wrote in Eine Mittheilung an meine Freunde, I propose to produce my myth in three complete dramas. However, by October, he had decided that this required a prelude. To the sentence quoted above he added the words, which will be preceded by a great prelude, a letter Wagner wrote to Theodor Uhlig confirms that at this time the opera was intended to have three acts. Wagner continued to develop the text and storyline of the prelude in parallel with those of Die Walküre, the prose draft of Das Rheingold was completed between 21 March and 23 March 1852 and its verse draft between 15 September and 3 November. A fair copy of the text was finished by 15 December, during the early years of the 1850s Wagner produced some musical sketches for parts of the Ring and noted down various motifs that were to be used in the work. There also exist three sets of isolated musical sketches for Das Rheingold which were composed between 15 September 1852 and November 1853. The first of these was entered into the draft of the text, the second into Wagners copy of the 1853 printing of the text. All three were used by Wagner. Proper sequential development of the score started on 1 November 1853, by 14 January, Wagner had completed the first draft of the opera on between two and three staves. The next stage involved the development of a detailed draft that indicated most of the vocal and instrumental details. This was completed by 28 May, in parallel with this, Wagner started work on a fair copy of the score on 15 February, a task he completed on 26 September 1854, by which time he had also started work on the sketches of Die Walküre. Das Rheingold was first performed at Munich on 22 September 1869 and its first performance as part of the complete Ring cycle took place at Bayreuth on 13 August 1876. It continues to be performed on a regular basis both in Bayreuth and elsewhere, Das Rheingold, considerably shorter than its three successors, consists of four scenes performed without a break. It has been noted as one of the best-known drone examples in the concert repertory, the curtain rises to show, at the bottom of the Rhine, the three Rhine maidens, Woglinde, Wellgunde, and Flosshilde, playing together. The key shifts to A flat as Woglinde begins an innocent song whose melody is used to characterise the Rhine maidens later in the cycle
4.
Bayreuth Festival
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The Bayreuth Festival is a music festival held annually in Bayreuth, Germany, at which performances of operas by the 19th-century German composer Richard Wagner are presented. Wagner himself conceived and promoted the idea of a festival to showcase his own works, in particular his monumental cycle Der Ring des Nibelungen. Performances take place in a specially designed theatre, the Bayreuth Festspielhaus, the Festival has become a pilgrimage destination for Wagner enthusiasts, who often must wait years to obtain tickets. The origins of the Festival itself lie rooted in Richard Wagners interest in establishing his financial independence, a souring of the relationship with his patron, Ludwig II of Bavaria, led to his expulsion from Munich, where he had originally intended to launch the festival. Wagner next considered Nuremberg, which would have reinforced the significance of works such as Die Meistersinger. On the advice of Hans Richter, however, the focus fell upon Bayreuth which enjoyed three distinct advantages, first, the town boasted a splendid venue, the Markgräfliches Opernhaus built for Margrave Frederick and his wife, Friederike Sophie Wilhelmine in 1747. With its ample capacity and strong acoustics, the house was a good match for Wagners vision. Finally, the town had no cultural life that could offer competition to Wagners own artistic dominance, the Festival, once launched, would be the dominant feature of Bayreuths cultural landscape. In April 1870, Wagner and his wife Cosima visited Bayreuth, on inspection, the Opera House proved to be inadequate. It was built to accommodate the baroque orchestras of the 18th century and was unsuited for the complex stagings. Nonetheless, the Burgermeisters proved open to assisting Wagner with the construction of a new theatre. After a fruitless meeting in the spring of 1871 with the German Chancellor Otto von Bismarck to obtain funds, Wagner embarked on a tour across Germany, including Leipzig. Societies were established, among other places, in Leipzig, Berlin, despite making direct appeals based on Wagners role as a composer of the new German Reich, the Societies and other fundraising channels were well short of the needed sum by the end of 1872. Wagner made another appeal to Bismarck in August 1873 and was again denied, desperate, Wagner turned to his former patron, Ludwig II who reluctantly agreed to help. In January 1874, Ludwig granted 100,000 Thaler and construction on the theatre, designed by architect Gottfried Semper, a planned 1875 debut was postponed for a year due to construction and other delays. Since its opening in 1876, the Bayreuth Festival has been a socio-cultural phenomenon, the inauguration took place on 13 August 1876, with a performance of Das Rheingold. Artistically, the festival was a success, financially, however, the festival was a disaster and did not begin to make money until several years later. Wagner abandoned his plan to hold a second festival the following year
5.
Siegfried (opera)
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Siegfried, WWV 86C, is the third of the four music dramas that constitute Der Ring des Nibelungen, by Richard Wagner. It premiered at the Bayreuth Festspielhaus on 16 August 1876, as part of the first complete performance of The Ring cycle, the musical composition was commenced in 1856, but not finally completed until 1871. Having grappled with his text for Siegfrieds Tod, and indeed having undertaken some musical sketches for it during 1851, at this point he conceived that the prefatory opera, Der junge Siegfried, could act as a comic foil to the tragedy of Siegfrieds Tod. Its all growing out of the ground as if it were wild, shortly afterwards he wrote to Uhlig that he was now planning to tell the Siegfried story in the form of three dramas, plus a prologue in three acts—a clear prefiguring of the Ring cycle. The composition of Acts 1 and 2 was completed by August 1857, Wagner then left off work on Siegfried to write the operas Tristan und Isolde and Die Meistersinger. He did not resume work on Siegfried until 1869, when he composed the third act, the final revision of the score was undertaken in February 1871. Performance was withheld until the first complete production of the Ring cycle, elements of the plot of Siegfried come from a variety of sources. In a letter to Uhlig, Wagner recounted The Story of the Youth Who Went Forth to Learn What Fear Was and it concerns a boy so stupid he had never learned to be afraid. Wagner wrote that the boy and Siegfried are the same character, the boy is taught to fear by his wife, and Siegfried learns it when he discovers the sleeping Brünnhilde. Siegfrieds ability in Act Two to see through Mimes deceitful words seems to have derived from a 19th-century street theatre version of the story of Faust. Some elements of the story are derived from legends of Sigurd, notably the Völsunga saga, scene 1 of Act 3 has a parallel in the Eddic poem Baldrs draumar, in which Odin questions a völva about the future of the gods. A cave in rocks in the forest, as the curtain rises, Alberichs brother, the dwarf Mime, is forging a sword. Mime is plotting to obtain the ring of power created by his brother Alberich. Mime needs a sword for Siegfried to use, but the youth has contemptuously broken every sword Mime has made, Siegfried returns from his wanderings in the forest with a wild bear in tow, and immediately breaks the new sword. Mime is forced to explain how he took in Siegfrieds mother, Sieglinde and he shows Siegfried the broken pieces of the sword Nothung, which Mime had obtained from her. Siegfried orders him to reforge the sword, Mime, however, is unable to accomplish this, Siegfried departs, leaving Mime in despair. An old man arrives at the door and introduces himself as the Wanderer, in return for the hospitality due a guest, he wagers his head on answering any three questions of Mime. The dwarf asks the Wanderer to name the races that live beneath the ground, on the earth and these are the Nibelung, the Giants, and the Gods, as the Wanderer answers correctly
6.
Bayreuth Festspielhaus
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The Bayreuth Festspielhaus or Bayreuth Festival Theatre is an opera house north of Bayreuth, Germany, dedicated solely to the performance of operas by the 19th-century German composer Richard Wagner. It is the venue for the annual Bayreuth Festival, for which it was specifically conceived, Wagner adapted the design of the Festspielhaus from an unrealised project by Gottfried Semper for an opera house in Munich, without the architects permission, and supervised its construction. Ludwig II of Bavaria provided the funding for the construction. The foundation stone was laid on 22 May 1872, Wagners 59th birthday, the building was first opened for the premiere of the complete four-opera cycle of Der Ring des Nibelungen, from 13 to 17 August 1876. Only the entry façade exhibits the typical late-19th-century ornamentation, while the remainder of the exterior is modest, the interior is mainly wood and has a reverberation time of 1.55 seconds. The Festspielhaus is a building, in fact, it is the largest free standing timber structure ever erected. This is also known as continental seating, many contemporary movie theaters have adopted this style of seating, which gives every seat an equal and uninterrupted view of the stage. The capacity of the Festspielhaus is 1,925 and has a volume of 10,000 cubic metres, the Festspielhaus features a double proscenium, which gives the audience the illusion that the stage is further away than it actually is. The double proscenium and the orchestra pit create – in Wagners term – a mystic gulf between the audience and the stage. This gives a character to performances, and provides a physical reinforcement of the mythic content of most of Wagners operas. The architecture of Festpielhaus accomplished many of Wagners goals and ideals for the performances of his operas including an improvement on the sound, feel, and overall look of the production. The Festpielhaus was originally planned to open in 1873, but by that time Wagner had barely raised enough money to put up the walls of his theatre and he began to raise money by traveling and putting on concerts in various cities and countries throughout Europe. There are, however, some documents concerning the donation and aid to Wagner for that matter by the Sultan Abdülaziz of the Ottoman Empire, even after Ludwig began funding the project, Wagner had to continue putting on concerts to keep the building project financially afloat. The tours were very taxing on Wagners health and would eventually be a key element to his death later on in 1883, a significant feature of the Festspielhaus is its unusual orchestra pit. It is recessed under the stage and covered by a hood and this feature was a central preoccupation for Wagner, since it made the audience concentrate on the drama onstage, rather than the distracting motion of the conductor and musicians. The design also corrected the balance of volume between singers and orchestra, creating ideal acoustics for Wagners operas, which are the operas performed at the Festspielhaus. However, this arrangement has made it the most challenging to conduct in. Not only is the crowded pit enveloped in darkness, but the acoustic reverberation makes it difficult to synchronise the orchestra with the singers, conductors must therefore retrain themselves to ignore cues from singers
7.
Epic poetry
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An epic poem, epic, epos, or epopee is a lengthy narrative poem, ordinarily concerning a serious subject containing details of heroic deeds and events significant to a culture or nation. Milman Parry and Albert Lord have argued that the Homeric epics and these works form the basis of the epic genre in Western literature. Nearly all Western epic self-consciously presents itself as a continuation of the tradition begun by these poems, classical epic employs dactylic hexameter and recounts a journey, either physical or mental or both. Epics also tend to highlight cultural norms and to define or call into question cultural values, another type of epic poetry is epyllion, which is a brief narrative poem with a romantic or mythological theme. The term, which means little epic, came into use in the nineteenth century, the most famous example of classical epyllion is perhaps Catullus 64. The first epics were products of preliterate societies and oral history poetic traditions, in these traditions, poetry is transmitted to the audience and from performer to performer by purely oral means. Early twentieth-century study of living oral traditions in the Balkans by Milman Parry. What they demonstrated was that oral epics tend to be constructed in short episodes, each of equal status, interest and this facilitates memorization, as the poet is recalling each episode in turn and using the completed episodes to recreate the entire epic as he performs it. Parry and Lord also contend that the most likely source for written texts of the epics of Homer was dictation from an oral performance, poets in literate societies have sometimes copied the epic format. The earliest surviving European examples are the Argonautica of Apollonius of Rhodes and Virgils Aeneid, other obvious examples are Nonnus Dionysiaca, Tulsidas Sri Ramacharit Manas. In his work Poetics, Aristotle defines an epic as one of the forms of poetry, contrasted with lyric poetry, an attempt to delineate ten main characteristics of an epic, Begins in medias res. The setting is vast, covering many nations, the world or the universe, Begins with an invocation to a muse. Begins with a statement of the theme, contains long lists, called an epic catalogue. Shows divine intervention on human affairs, features heroes that embody the values of the civilization. Often features the tragic heros descent into the Underworld or hell, the hero generally participates in a cyclical journey or quest, faces adversaries that try to defeat him in his journey and returns home significantly transformed by his journey. The epic hero illustrates traits, performs deeds, and exemplifies certain morals that are valued by the society the epic originates from, many epic heroes are recurring characters in the legends of their native culture. Conventions of epics, Preposition, Opens by stating the theme or cause of the epic and this may take the form of a purpose, of a question, or of a situation. Invocation, Writer invokes a Muse, one of the nine daughters of Zeus, the poet prays to the Muses to provide him with divine inspiration to tell the story of a great hero
8.
Saga
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They were written in the Old Norse language, mainly in Iceland. The tales are usually realistic, except legendary sagas, sagas of saints, sagas of bishops and they are sometimes romanticised and fantastic, but always dealing with human beings one can understand. The term saga originates from the Norse saga, and refers to what is said, statement or story, tale and it is cognate with the English word saw, and the German Sage. Icelandic sagas are based on traditions and much research has focused on what is real. The accuracy of the sagas is often hotly disputed, most of the manuscripts in which the sagas are preserved were taken to Denmark and Sweden in the 17th century, but later returned to Iceland. Classic sagas were composed in the 13th century, scholars once believed that these sagas were transmitted orally from generation to generation until scribes wrote them down in the 13th century. However, most scholars now believe the sagas were conscious artistic creations, however, this clothing is not contemporary with the events of the saga as it is a closer match to the clothing worn in the 12th century. There are plenty of tales of kings, everyday people and larger than life characters, the sagas describe a part of the history of some of the Nordic countries. The British Isles, northern France and North America are also mentioned and it was only recently that the tales of the voyages to North America were authenticated. Most sagas of Icelanders take place in the period 930–1030, which is called söguöld in Icelandic history, the sagas of kings, bishops, contemporary sagas have their own time frame. Norse sagas are generally classified as, the Kings sagas, sagas of Icelanders, Short tales of Icelanders, Contemporary sagas, Legendary sagas, Chivalric sagas, Saints sagas, Kings sagas are of the lives of Scandinavian kings. They were composed in the 12th to 14th centuries, family Sagas, are stories of real events, passed in oral form till they eventually were recorded, mostly in the 13th century. These are the highest form of the classical Icelandic saga writing, some well-known examples include Njáls saga, Laxdæla saga and Grettis saga. The material of the Short tales of Icelanders sagas is similar to Íslendinga sögur, the narratives of the Contemporary Sagas are set in 12th- and 13th-century Iceland, and were written soon after the events they describe. Most are preserved in the compilation Sturlunga saga, though some, Legendary Sagas blend remote history with myth or legend. The aim is on a narrative and entertainment. Scandinavias pagan past was a proud and heroic history for the Icelanders, Chivalric sagas are translations of Latin pseudo-historical works and French chansons de geste as well as native creations in the same style. While sagas are generally anonymous, a literary movement in the 14th century involves sagas, mostly on religious topics, with identifiable authors
9.
Nibelungenlied
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The Nibelungenlied, translated as The Song of the Nibelungs, is an epic poem in Middle High German. The story tells of dragon-slayer Siegfried at the court of the Burgundians, how he was murdered, the Nibelungenlied is based on pre-Christian Germanic heroic motifs, which include oral traditions and reports based on historic events and individuals of the 5th and 6th centuries. Old Norse parallels of the legend survive in the Völsunga saga, the Prose Edda, the Poetic Edda, the Legend of Norna-Gest, in 2009, the three main manuscripts of the Nibelungenlied were inscribed in UNESCOs Memory of the World Register in recognition of their historical significance. The poem in its various forms was lost by the end of the 16th century. There are thirty-five known manuscripts of the Nibelungenlied and its variant versions, eleven of these manuscripts are essentially complete. The oldest version seems to be the one preserved in manuscript B, twenty-four manuscripts are in various fragmentary states of completion, including one version in Dutch. The text contains approximately 2,400 stanzas in 39 Aventiuren, the title under which the poem has been known since its discovery is derived from the final line of one of the three main versions, hie hât daz mære ein ende, daz ist der Nibelunge liet. Liet here means lay, tale or epic rather than simply song, the manuscripts sources deviate considerably from one another. This categorization derives from the signatures on the *A, *B, the Nibelungs lament, a sort of appendix to the poem proper, mentions a Meister Konrad who was charged by a bishop Pilgrim of Passau with the copying of the text. This is taken as a reference to Saint Pilgrim, bishop of Passau from 971–991, the search for the author of the Nibelungenlied in German studies has a long and intense history. Among the names suggested were Konrad von Fußesbrunnen, Bligger von Steinach, none of these hypotheses has wide acceptance, and mainstream scholarship today accepts that the authors name cannot be established. The original version began with the introduction of Kriemhild, the protagonist of the work. The second part deals with Kriemhilds marriage to Etzel, her plans for revenge, the journey of the Burgundians to the court of Etzel, the first chapter introduces the court of Burgundy. Kriemhild has a dream of a falcon that is killed by two eagles and her mother interprets this to mean that Kriemhilds future husband will die a violent death, and Kriemhild consequently resolves to remain unmarried. The second chapter tells of the background of Siegfried, crown prince of Xanten and his youth is narrated with little room for the adventures later attributed to him. In the third chapter, Siegfried arrives in Worms with the hopes of wooing Kriemhild, Siegfried leaves his treasure in the charge of a dwarf named Alberich. After killing the dragon, Siegfried then bathed in its blood, in spite of Hagens threatening stories about his youth, the Burgundians welcome him, but do not allow him to meet the princess. Disappointed, he remains in Worms and helps Gunther defeat the invading Saxons
10.
Libretto
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A libretto is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata. Libretto, from Italian, is the diminutive of the word libro, sometimes other language equivalents are used for libretti in that language, livret for French works and Textbuch for German. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot. The relationship of the librettist to the composer in the creation of a work has varied over the centuries, as have the sources. In the context of a modern English language musical theatre piece, Libretti for operas, oratorios and cantatas in the 17th and 18th centuries generally were written by someone other than the composer, often a well-known poet. Metastasio was one of the most highly regarded librettists in Europe and his libretti were set many times by many different composers. Another noted 18th-century librettist was Lorenzo Da Ponte, who wrote the libretti for three of Mozarts greatest operas, as well as for other composers. Eugène Scribe was one of the most prolific librettists of the 19th century, providing the words for works by Meyerbeer, Auber, Bellini, Donizetti, Rossini and Verdi. The French writers duo Henri Meilhac and Ludovic Halévy wrote a number of opera and operetta libretti for the likes of Jacques Offenbach, Jules Massenet. Arrigo Boito, who wrote libretti for, among others, Giuseppe Verdi and Amilcare Ponchielli, the libretto is not always written before the music. Some composers wrote their own libretti, Richard Wagner is perhaps most famous in this regard, with his transformations of Germanic legends and events into epic subjects for his operas and music dramas. Hector Berlioz, too, wrote the libretti for two of his works, La Damnation de Faust and Les Troyens. Alban Berg adapted Georg Büchners play Woyzeck for the libretto of Wozzeck, sometimes the libretto is written in close collaboration with the composer, this can involve adaptation, as was the case with Rimsky-Korsakov and his librettist Belsky, or an entirely original work. In the case of musicals, the music, the lyrics, thus, a musical such as Fiddler on the Roof has a composer, a lyricist and the writer of the book. In rare cases, the composer writes everything except the dance arrangements - music, lyrics and libretto, Other matters in the process of developing a libretto parallel those of spoken dramas for stage or screen. A famous case of the latter is Wagners 1861 revision of the original 1845 Dresden version of his opera Tannhäuser for Paris, since the late 19th century some opera composers have written music to prose or free verse libretti. The libretto of a musical, on the hand, is almost always written in prose
11.
Nibelung
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The vast wealth of the Burgundians is often referred to as the Niblung or Niflung hoard. In Richard Wagners opera cycle Der Ring des Nibelungen, Nibelung denotes a dwarf, the earliest probable surviving mention of the name is in the Latin poem Waltharius, believed to have been composed around the year 920. In lines 555–6 of that poem Walter, seeing Guntharius and his men approaching says, Nōn assunt Avarēs hīc, the translation is, These are not Avars, but Frankish Nivilons, inhabitants of the region. The other texts have nebulones worthless fellows instead of nivilones, a replacement for an obscure proper name. In medieval Latin names, b and v often interchange, so Nivilones is a reasonable Latinization of Germanic Nibilungos and this is the only text to connect the Nibelungs with Franks. Since Burgundy was conquered by the Franks in 534, Burgundians could loosely be considered Franks of a kind, the name Nibelunc became a Frankish personal name in the 8th and 9th centuries, at least among the descendants of Childebrand I. Yet, in this poem, the center of Gunthers supposedly Frankish kingdom is the city of Worms on the Rhine, in the eddic poem Atlakviða, the word Niflungar is applied three times to the treasure or hoard of Gunnar. It is also applied once to Gunnars warriors and once to Gunnar himself, the variant form Hniflungr also occurs as the name of Högnis son in the eddic poem Atlamál, and as a term for the children born by Gunnars sister Gudrún to Atli. It appears to be a term for warrior in Helgakviða Hundingsbana I. Hniflungar might be of separate origin, meaning descendants of Hnef, however h was early dropped initially before other consonants in Norwegian dialects which might lead to the adding of h to names in other dialects where it did not originally belong. In the Lex Burgundionum, issued by the Burgundian king Gundobad, it is decreed that those who were free under the kings Gibica, Gundomar, Gislaharius, and Gundaharius will remain free. But as will be seen below, legendary tradition often makes Gibiche or Gjúki the father of Gunther/Gunnar, in Norse tradition another brother is named Gutthorm which looks like a slight garbling of Gundomar. German tradition provides instead a third brother named Gernot, which may be a substitution of a familiar name for an unfamiliar one. In the Nibelungenlied, all three brothers are called kings, but if so, the order of the names here is puzzling. One would expect Gundaharius to be named immediately after Gibica, another king called Heriricus rules the Burgundians and is father of Hiltgunt, the heroine of the tale. The only other kinsman of Gunther who appears here is Hagano, but Haganos exact familial relation to Guntharius is not given. The Old Norse Þiðrekssaga is a translation of German legendary material into Norwegian. Here Gunther and his brothers are sons and heirs of Irung or Aldrian by Aldrians wife Ode, the sons are named Gunnar, Gernoz, and Gisler
12.
Dwarf (mythology)
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In Germanic mythology, a dwarf is a being that dwells in mountains and in the earth, and is variously associated with wisdom, smithing, mining, and crafting. Dwarfs are often described as short and ugly, although some scholars have questioned whether this is a later development stemming from comical portrayals of the beings. The concept of the dwarf has had influence in popular culture. The modern English noun dwarf descends from the Old English dweorg and it has a variety of cognates in other Germanic languages, including Old Norse dvergr and Old High German twerg. According to Vladimir Orel, the English noun and its cognates ultimately descend from Proto-Germanic *đwerȝaz, beyond the Proto-Germanic reconstruction, the etymology of the word dwarf is highly contested. Competing etymologies include a basis in the Indo-European root *dheur-, the Indo-European root *dhreugh, modern English has two plurals for the word dwarf, dwarfs and dwarves. Dwarfs remains the most commonly employed plural, regarding the plural, Tolkien wrote in 1937, I am afraid it is just a piece of private bad grammar, rather shocking in a philologist, but I shall have to go with it. Norse mythology provides different mythical origins for the beings, as recorded in the Poetic Edda, the Poetic Edda poem Völuspá details that the dwarfs were the product of the primordial blood of the being Brimir and the bones of Bláinn. The Prose Edda, however, describes dwarfs as beings similar to maggots that festered in the flesh of Ymir before being gifted with reason by the gods. The Poetic Edda and Prose Edda contain over 100 dwarf names, while the Prose Edda gives the four dwarfs Norðri, Suðri, Austri and Vestri a cosmological role, they hold up the sky. In addition, scholars have noted that the Svartálfar appear to be the same beings as dwarfs, one dwarf named Alvíss claimed the hand of Thors daughter Þrúðr in marriage, but he was kept talking until daybreak and turned to stone, much like some accounts of trolls. After the Christianization of the Germanic peoples, tales of dwarfs continued to be told in the folklore of areas of Europe where Germanic languages were spoken, in the late legendary sagas, dwarfs demonstrate skill in healing as well as in smithing. In the early Norse sources, there is no mention of their short, in the legendary sagas, however, they are small. Anatoly Liberman suggests that dwarfs may have originally been thought of as supernatural beings. Old Norse dwarf names include Fullangr and Hár, whereas Anglo-Saxon glosses use dweorg to render Latin terms such as nanus and pygmaeus, dwarfs in folklore are usually described as old men with long beards. Female dwarfs are hardly ever mentioned, however, in the Swedish ballad Herr Peder och Dvärgens Dotter, the role of supernatural temptress is played by a dwarfs daughter. The Anglo-Saxon charm Wið Dweorh appears to relate to sleep disturbances, in the Old English Herbal, it translates Latin verrucas, warts. Lotte Motz theorized that the Germanic dwarfs, particularly as smiths and gatekeepers, there were seven dwarfs in the Brothers Grimms fairy tale Snow White
13.
Theatre of ancient Greece
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The ancient Greek drama, is a theatrical culture that flourished in ancient Greece from c.700 BC. Tragedy, comedy, and the play were the three dramatic genres to emerge there. Athens exported the festival to its numerous colonies and allies in order to promote a cultural identity. The word τραγῳδία, from which the tragedy is derived, is a compound of two Greek words, τράγος or goat and ᾠδή meaning song, from ἀείδειν, to sing. This etymology indicates a link with the practices of the ancient Dionysian cults and it is impossible, however, to know with certainty how these fertility rituals became the basis for tragedy and comedy. The classical Greeks valued the power of word, and it was their main method of communication. Bahn and Bahn write, To Greeks the spoken word was a living thing, socrates himself believed that once something was written down, it lost its ability for change and growth. For these reasons, among others, oral storytelling flourished in Greece. Greek tragedy as we know it was created in Athens around the time of 532 BC, being a winner of the first theatrical contest held in Athens, he was the exarchon, or leader, of the dithyrambs performed in and around Attica, especially at the rural Dionysia. By Thespis time, the dithyramb had evolved far away from its cult roots, under the influence of heroic epic, Doric choral lyric and the innovations of the poet Arion, it had become a narrative, ballad-like genre. Thus, Thespiss true contribution to drama is unclear at best, the dramatic performances were important to the Athenians – this is made clear by the creation of a tragedy competition and festival in the City Dionysia. This was organized possibly to foster loyalty among the tribes of Attica, the festival was created roughly around 508 BC. While no drama texts exist from the sixth century BC, we do know the names of three competitors besides Thespis, Choerilus, Pratinas, and Phrynichus, each is credited with different innovations in the field. He won his first competition between 511 BC and 508 BC and he produced tragedies on themes and subjects later exploited in the golden age such as the Danaids, Phoenician Women and Alcestis. He was the first poet we know of to use a historical subject – his Fall of Miletus, produced in 493-2 and he is also thought to be the first to use female characters. This century is regarded as the Golden Age of Greek drama. The centre-piece of the annual Dionysia, which took place once in winter, each submitted three tragedies, plus a satyr play. Beginning in a first competition in 486 BC each playwright submitted a comedy, aristotle claimed that Aeschylus added the second actor, and that Sophocles introduced the third
14.
Satyr play
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Satyr plays were an ancient Greek form of tragicomedy, similar in spirit to the bawdy satire of burlesque. They featured choruses of satyrs, were based on Greek mythology, and were rife with drunkenness, brazen sexuality, pranks, sight gags. Satyric drama was one of the three varieties of Athenian drama, the two being tragedy and comedy. It can be traced back to Pratinas of Phlius, c.500 BC, after settling in Athens, he probably adapted the dithyramb, customary in his native home, with its chorus of satyrs, to complement the form of tragedy which had been recently invented in Athens. It met with approval and was developed by his son Aristeas, by Choerilus, by Aeschylus. They were short, half the duration of a tragedy, the general theme of heaven, fate, and the gods affecting human affairs in the tragedies was carried through into the festivities of the chorus of satyrs and Sileni, companions of Dionysus. The origins of culture and the emergence of the satyr play can be traced to ancient rural celebrations in honour of the god Dionysus. Brockett also suggests the possibility that the play was the first form of drama from which both tragedy and comedy gradually emerged. A. E. Haigh however maintained that the play is a survival from “the primitive period of Bacchic worship”. Haigh lists several examples of recorded entries to the City Dionysia, thus, in 472 BC Aeschylus won the first prize with Phineaus, Persae, Glaucus and the satyr play Prometheus. Among Euripides’ entries, Haigh underlines Theristae, Sisyphus and Alcestis which Euripides was allowed to present as a replacement of the satyr play. The mythological origins of the satyrs are closely linked to the advent of Dionysus into Hellenic culture, the satyrs and their female counterpart, the maenads, were followers of Dionysus, a “late-comer to Olympus and probably of Asiatic origin”. According to Roger Lancelyn Green, the satyrs probably began as minor deities, while their designated leader Silenus originated as a water spirit. Silenus was already an attendant to Dionysus when the satyrs joined the god’s following, the satyrs characterised themselves by amorality, excessive drinking and the breaking down of traditional values and barriers. The amusing effect of the play did not depend so much on the action itself, as was the case in comedy and that relation was in keeping with the wanton, saucy, and insolent, and at the same time cowardly, nature of the satyrs. The number of persons in the chorus is not known, although there were probably either twelve or fifteen, the dance of the chorus in the satyric drama was called sicinnis, and consisted of a fantastic kind of skipping and jumping. The only satyr play to survive in its entirety is Euripides Cyclops, based on Odysseus encounter with the cyclops, Polyphemus, in Book 9 of the Odyssey. We also have fragments of a satyr play of Sophocles called Ichneutae, in which the satyrs are employed by Apollo to track down his stolen cattle
15.
Hero
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The concept of the hero was first founded in classical literature. It is the main or revered character in heroic epic poetry celebrated through ancient legends of a people, often striving for military conquest and living by a continually flawed personal honor code. The definition of a hero has changed throughout time, and the Merriam Webster dictionary defines a hero as a person who is admired for great or brave acts or fine qualities. The word hero comes from the Greek ἥρως, hero, warrior, before the decipherment of Linear B the original form of the word was assumed to be *ἥρωϝ-, hērōw-, R. S. P. Beekes has proposed a Pre-Greek origin. According to the American Heritage Dictionary of the English Language, the Indo-European root is *ser meaning to protect, according to Eric Partridge in Origins, the Greek word Hērōs is akin to the Latin seruāre, meaning to safeguard. Partridge concludes, The basic sense of both Hera and hero would therefore be protector, the word hero is used in English to refer either explicitly to male heroes or as a gender neutral form. The use of the male form hero as a gender neutral substantive is a modern advent, see also Gender neutrality in English. A classical hero is considered to be a warrior who lives and dies in the pursuit of honor, each classical heros life focuses on fighting, which occurs in war or during an epic quest. Classical heroes are commonly semi-divine and extraordinarily gifted, like Achilles, or, alternatively, are like Beowulf, evolving into heroic characters through their perilous circumstances. While these heroes are incredibly resourceful and skilled, they are often foolhardy, court disaster, risk their followers lives for trivial matters, during classical times, people regarded heroes with the highest esteem and utmost importance, explaining their prominence within epic literature. Hector was a Trojan prince and the greatest fighter for Troy in the Trojan War, Hector acted as leader of the Trojans and their allies in the defense of Troy, killing 31,000 Greek fighters, offers Hyginus. Hector was known not only for his courage but also for his noble, indeed, Homer places Hector as peace-loving, thoughtful as well as bold, a good son, husband and father, and without darker motives. However, his familial values conflict greatly with his aspirations in The Iliad. Hector is ultimately betrayed by the gods when Athena appears disguised as his ally Deiphobus and convinces him to take on Achilles, Achilles was a Greek Hero who was considered the most formidable military fighter in the entire Trojan War and the central character of The Iliad. He was the child of Thetis and Peleus, making him a demi-god and he wielded superhuman strength on the battlefield and was blessed with a close relationship to the Gods. Achilles famously refuses to fight after his dishonoring at the hands of Agamemnon, Achilles was known for uncontrollable rage that defined many of his bloodthirsty actions, such as defiling Hectors corpse by dragging it around the city of Troy. Achilles plays a role in The Iliad brought about by constant de-humanization throughout the epic. Heroes in myth often had close but conflicted relationships with the gods, thus Heracless name means the glory of Hera, even though he was tormented all his life by Hera, the Queen of the Gods
16.
Wagner tuba
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The Wagner tuba is an infrequently-used brass instrument that combines tonal elements of both the French horn and the trombone. Wagner tubas are also referred to as Wagner horns or Bayreuth tubas in English, the term Wagner tuba has been used in English since the 19th century and is standard today. Wagners published scores usually refer to instruments in the plural, Tuben. The Wagner tuba was originally created for Richard Wagners operatic cycle Der Ring des Nibelungen, Wagner was inspired to invent the Wagner tuba after a brief visit to Paris in 1853. He visited the shop of Adolphe Sax, the inventor of the saxophone and they showed him a saxhorn, which is similar to the instrument that Wagner ultimately wanted, and later had constructed by the C. W. Moritz firm in Berlin. Wagner wanted an instrument that could produce the noble and sombre Valhalla motif in Das Rheingold like a trombone and that Wagner tuba aural effect is obtained by a conical bore and the use of the horn mouthpiece. The saxhorn had a cylindrical and larger bore, used the parabolic cupped mouthpiece. The Wagner tuba is built with rotary valves, which are played with the left hand, horn players traditionally double on Wagner tubas because the mouthpiece and fingering are identical. The Wagner tuba nominally exists in two sizes, tenor in B♭ and bass in F, with ranges comparable to those of horns in the same pitches while being less adept at the highest notes. Several 20th-century and later manufacturers have, however, combined the two instruments into a double Wagner tuba that can easily be configured in either B♭ or F, the name Wagner tuba is considered problematic, possibly incorrect, by many theorists. Kent Kennan says they are poorly named since they are really modified horns rather than tubas, the sound of the Wagner tuba is as mellow as that of the horn and sounds more distant, yet also more focused. Anton Bruckner generally uses them for pensive melodic passages at piano to pianissimo dynamics and they can hold their own in a forte tutti, but Bruckner generally gives them sustained tones rather than melodic motifs in such passages. In Bruckners Eighth and Ninth Symphonies, the four Wagner tubas are played by players who alternate between horn and Wagner tuba, which is the same procedure Wagner used in the Ring. This change is simplified by the fact that the horn and Wagner tuba use the same mouthpiece, where on the orchestral score the Wagner tubas are placed depend on who plays them. The euphonium is often used as a substitute in modern orchestras, Wagner tubas are typically played by players who are also playing a horn. The staves for the Wagner tubas logically go below those of the horns, if they are played by players who are not also playing a horn, they are placed below the trombones, above the regular tuba, which is then called a contrabass tuba
17.
Bass trumpet
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The bass trumpet is a type of low trumpet which was first developed during the 1820s in Germany. Having valves and the tubing length, the bass trumpet is quite similar to the valve trombone, although the bass trumpet has a harder. Several other variants were produced through the 1820s and were employed in military bands, wide-bell versions in 9 B♭ are still used today in Austria and Bavaria under the name Baßtrompete, and narrow-bell versions in 9 B♭ are used in Italy under the name tromba bassa. They perform no melodic function, but are used solely to fill out harmonies, Richard Wagners first intention for Der Ring des Nibelungen was a bass trumpet in 13 E♭, based on the instruments he would have come across during his dealings with military bands. The model normally used today is in 8 C with four rotary valves, Bass trumpets in E♭ are usually played by trumpeters as the mouthpiece is closer in size to that of the standard B♭ trumpet. Wagner wrote adventurously for his new addition to the section, exploiting open and muted effects. The bass trumpet is frequently featured in Der Ring des Nibelungen, playing solos in every register, as well as playing in octaves, unison or harmony with trumpets, trombones and its very distinctive timbre is easily identifiable and Wagner used this new and unique tone colour extensively. Other composers who have used the trumpet in the orchestra include Arthur Sullivan, Richard Strauss, Arnold Schoenberg, Igor Stravinsky. György Ligeti used the trumpet as one of Nekrotzars Entourage instruments in his opera Le Grand Macabre. The bass trumpet is usually notated in the treble clef, the bass trumpet in C sounds one octave lower than written, the bass trumpet in E♭ sounds a major sixth lower than written and the bass trumpet in B♭ sounds a major ninth lower than written. Wagners transpositions include bass trumpet in E, E♭, D, C and B♭, johnny Mandel is perhaps the best-known bass trumpeter from the jazz world. Leonhard Paul of Mnozil Brass plays bass trumpet regularly with the ensemble, up until late 2006, he played a traditional rotary valve bass trumpet made by Gebr. Now he plays a totally redesigned bass trumpet by Schagerl, Jazz trombonist Elliot Mason, who plays with Wynton Marsaliss Jazz at the Lincoln Center Orchestra as well as leading his own bands, regularly plays the bass trumpet. His equipment includes a silver-plated Getzen bass trumpet and a Mount Vernon B flat trumpet made by the Vincent Bach Corporation, other trumpets, Piccolo trumpet Contrabass trumpet Pocket trumpet Bass & Contrabass Trumpet
18.
Types of trombone
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There are many different types of trombone. See trombone for information about the instrument in general, the cimbasso is a brass instrument in the trombone family, with a sound ranging from warm and mellow to bright and menacing. It has three to six piston or rotary valves, a cylindrical bore, and is usually pitched in C, F or E♭. It is in the range as a tuba or a contrabass trombone. The early use of cimbasso referred to a serpent of a narrower bore than the basson russe. Later, this term was extended to a range of instruments including the ophicleide. In general, after the advent of the more conical bass tuba, the term cimbasso was used to refer to a more blending voice than the basso tuba or bombardone and this causes a very direct, concentrated sound to be projected towards conductor and audience. The cimbasso in its form had a bell pointed upwards like the wider-bored tuba. Verdi disliked the wide-bore damned Bombardoni Austriche, not only because of the hoarse, broad tone, but also because of the Austrian origin of those wide-bore Bombardone-tubas. This attitude was inspired by the hated Austrian occupation of northern Italy in the years before the Risorgimento and these instruments were, however, well appreciated in the military brass and reed bands, playing the bass role of the string basses. It is a challenge for instrument builders and players of low-brass, to begin with the Bas-valve horns were derived from Basson Russe until the tuba formed Trombone Basso as used after 1867 until Otello/Falstaff. The cimbasso in its form as developed by Verdi and atelier Pelitti. The contrabass trombone is pitched in 12 F a perfect fourth lower than the modern tenor or bass trombone and has been through a number of changes in its history. Its first incarnation during the Renaissance was in 18 B♭ as the Octav-posaune, during this period it was built as an oversized bass trombone with a long slide and extension handle to reach the lower positions. The innovation of the double slide took place towards the end of period and was applied to the bass and contrabass trombones. The slide was wound back on itself to produce four tubes, each of which moved in tandem with its partner, during the nineteenth century, the contrabass trombone enjoyed a revival and it was constructed according to the double slide principle. At the turn of the 20th century, Conn manufactured a number of contrabass trombones. Wagners Der Ring des Nibelungen employed the contrabass trombone for the first time in the opera house
19.
Valkyrie
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In Norse mythology, a valkyrie is one of a host of female figures who choose those who may die in battle and those who may live. Selecting among half of those who die in battle, the valkyries bring their chosen to the hall of the slain, Valhalla. There, the deceased warriors become einherjar, when the einherjar are not preparing for the events of Ragnarök, the valkyries bear them mead. They appear throughout the poetry of skalds, in a 14th-century charm, scholarly theories have been proposed about the relation between the valkyries, the norns, and the dísir, all of which are supernatural figures associated with fate. Archaeological excavations throughout Scandinavia have uncovered amulets theorized as depicting valkyries, in modern culture, valkyries have been the subject of works of art, musical works, video games and poetry. The word valkyrie derives from Old Norse valkyrja, which is composed of two words, the noun valr and the verb kjósa, together, they mean chooser of the slain. The Old Norse valkyrja is cognate to Old English wælcyrge, from the Old English and Old Norse forms, philologist Vladimir Orel reconstructs a Proto-Germanic form, *wala-kuzjōn. However, the term may have been borrowed into Old English from Old Norse, other terms for valkyries in Old Norse sources include óskmey, appearing in the poem Oddrúnargrátr and Óðins meyjar, appearing in the Nafnaþulur. Óskmey may be related to the Odinic name Óski, referring to the fact that Odin receives slain warriors in Valhalla, valkyries are mentioned or appear in the Poetic Edda poems Völuspá, Grímnismál, Völundarkviða, Helgakviða Hjörvarðssonar, Helgakviða Hundingsbana I, Helgakviða Hundingsbana II and Sigrdrífumál. In stanza 30 of the poem Völuspá, a völva tells Odin that she saw valkyries coming from far away who are ready to ride to the realm of the gods. The völva follows this with a list of six valkyries, Skuld who bore a shield, Skögul, Gunnr, Hildr, afterwards, the völva tells him she has listed the ladies of the War Lord, ready to ride, valkyries, over the earth. A prose introduction in the poem Völundarkviða relates that the brothers Slagfiðr, Egil, there, early one morning, the brothers find three women spinning linen on the shore of the lake Úlfsjár, and near them were their swans garments, they were valkyries. Two, daughters of King Hlödvér, are named Hlaðguðr svanhvít and Hervör alvitr, the brothers take the three women back to their hall with them—Egil takes Ölrún, Slagfiðr takes Hlaðguðr svanhvít and Völund takes Hervör alvitr. They live together for seven winters, until the women fly off to go to a battle, Egil goes off in snow-shoes to look for Ölrún, Slagfiðr goes searching for Hlaðguðr svanhvít and Völund sits in Úlfdalir. He finds one particularly striking, this valkyrie is detailed later in a narrative as Sváva, king Eylimis daughter. The valkyrie speaks to the man, and gives him the name Helgi. The valkyrie tells him she knows of a hoard of swords in Sigarsholm, and that one of them is of particular importance, further into the poem, Atli flytes with the female jötunn Hrímgerðr. After Hrímgerðr is turned to stone by the daylight, a prose narrative continues that Helgi, Helgi and Sváva are betrothed and love one another dearly
20.
Rhinemaidens
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The Rhinemaidens are the three water-nymphs who appear in Richard Wagners opera cycle Der Ring des Nibelungen. Their individual names are Woglinde, Wellgunde and Flosshilde, although they are treated as a single entity. Of the 34 characters in the Ring cycle, they are the ones who did not originate in the Old Norse Eddas. Wagner created his Rhinemaidens from other legends and myths, most notably the Nibelungenlied which contains stories involving water-sprites or mermaids and they have been described as morally innocent, yet they display a range of sophisticated emotions, including some that are far from guileless. Seductive and elusive, they have no relationship to any of the other characters, the various musical themes associated with the Rhinemaidens are regarded as among the most lyrical in the entire Ring cycle, bringing to it rare instances of comparative relaxation and charm. It is reported that Wagner played the Rhinemaidens lament at the piano, on the night before he died in Venice, alone of the Rings characters, the Rhinemaidens do not originate from the Poetic Edda or Prose Edda, the Icelandic sources for most of Norse mythology. Water-sprites appear in many European myths and legends, often but not invariably in a form of disguised malevolence, Wagner drew widely and loosely from those legends when compiling his Ring narrative, and the probable origin of his Rhinemaidens is in the German Nibelungenlied. In one part of the Nibelungenlied narrative Hagen and Gunther encounter certain wise women, Hagen creeps softly towards them, but he is seen, whereupon the sprites retreat and mock him from a distance. To obtain the return of these, one of the sprites, Hadeburg, promises falsely that Hagen and Gunther will find honor, after their clothes are returned, another sprite, Sigelinde, tells Hagen that her sister has lied. If they go to Etzels land, they will die there and this story, itself unrelated to the Ring drama, is echoed by Wagner both in the opening Das Rheingold scene and in the first scene in Act III of Götterdämmerung. Later these water-maids became Rhinemaidens, and were given names, Flosshilde, Wellgunde. As Wagner continued working on his reverse chronology from Siegfrieds death, believing that a simple abduction of the unguarded gold would lack dramatic force, Wagner made the Rhinemaidens the guardians of the gold, and he introduced the renunciation of love condition. Bronnlinde became Woglinde, probably to avoid confusion with Brünnhilde, further possible sources lie in Greek mythology and literature. Wagner was a reader of Aeschylus, including his Prometheus Bound which has a chorus of Oceanids or water nymphs. One author, Rudolph Sabor, sees a link between the Oceanids treatment of Prometheus and the Rhinemaidens initial tolerance of Alberich. Just as in Greek myth the Oceanids are the daughters of the sea god Oceanus. The name of one of these means wave and is a source for Wellgundes name. Wagners operas do not reveal where the Rhinemaidens came from, or whether they have any connection to other characters, whereas most of the characters in the cycle are inter-related, through birth, marriage, or sometimes both, the Rhinemaidens are seemingly independent
21.
Giant
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Giants are the monsters of human appearance but prodigious size and strength common in the mythology and legends of many different cultures. The word giant, coined in 1297, was derived from the Gigantes of Greek mythology, Giants also often play similar roles in the mythologies and folklore of other, non Indo-European peoples, such as in the Nartian traditions. There are also accounts of giants in the Old Testament, most famously Goliath, Og King of Bashan, the Nephilim, the Anakim, attributed to them are extraordinary strength and physical proportions. Fairy tales such as Jack the Giant Killer have formed the modern perception of giants as stupid and violent monsters, sometimes said to eat humans, the ogre in Jack and the Beanstalk is often described as a giant. In some more recent portrayals, like those of Jonathan Swift and Roald Dahl, genesis 6, 4-5 tells of the Nephilim before and after the Flood. The 1st-century historian Flavius Josephus, and the 1st-2nd-century BC Dead Sea Scrolls give Goliaths height as four cubits and a span, approximately 2.00 m or about six feet seven inches. There were till then left the race of giants, who had bodies so large, and countenances so entirely different from men, that they were surprising to the sight. The bones of men are still shown to this very day. In Islam, giants known as jababirat or jabbirun such as Jalut are mentioned, the Book of Enoch describes giants as the offspring of fallen angels and mortal women in 7,2. According to Jains, there was a time when giants walked upon this earth, Jain cosmology divides worldly cycle of time into two parts or half-cycles, avasarpani and ascending. According to Jain texts, the height of Rishabha, first tirthankara of present half cycle of time was 500 dhanusa, in avasarpani, as the cycle moves ahead, height of all humans and animals decreases. The following table depicts the six aras of avasarpini- In Hinduism, the Daityas were the children of Diti and the sage Kashyapa who fought against the gods or Devas because they were jealous of their Deva half-brothers. Since Daityas were a race, they sometimes allied with other races having similar ideology namely Danavas and Asuras. Daityas along with Danavas and Asuras are sometimes called Rakshasas, the term for a demon in Hindu mythology. Some known Daityas include Hiranyakashipu and Hiranyaksha, the main antagonist of the Hindu epic Ramayana, Ravana, was a Brahmin from his fathers side and a Daitya from his mothers side. His younger brother Kumbhakarna was said to be as tall as a mountain and was good natured. Furthermore, the Paiute creation story tells of beautiful giants who lived between the Sierra Nevada and the Rocky Mountains. After giving birth to a child, the giants treated the child so poorly that the Great Spirit responded by making the land hot and desolate
22.
Odin
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In Germanic mythology, Odin is a widely revered god. In the modern period, Odin continued to be acknowledged in the folklore of Germanic Europe. Forms of his name appear frequently throughout the Germanic record, though narratives regarding Odin are mainly found in Old Norse works recorded in Iceland and these texts make up the bulk of modern understanding of Norse mythology. In Old Norse texts, Odin is depicted as one-eyed and long-bearded, frequently wielding a spear named Gungnir, and wearing a cloak, Odin is attested as having many sons, most famously the god Baldr with Frigg, and is known by hundreds of names. Odin has an association with Yule, and mankinds knowledge of both the runes and poetry is also attributed to him. In Old Norse texts, Odin is given primacy over female beings associated with the battlefield—the valkyries—and oversees Valhalla, where he receives half of those who die in battle, the other half are chosen by the goddess Freyja for her afterlife location, Fólkvangr. In later folklore, Odin appears as a leader of the Wild Hunt and he has also been associated with charms and other forms of magic, particularly in Old English and Old Norse texts. Odin has been a frequent subject of study in Germanic studies, in the modern period, Odin has inspired numerous works of poetry, music, and other forms of media. He is venerated in most forms of the new religious movement Heathenry, together with other gods venerated by the ancient Germanic peoples, some branches focus particularly on him. The Old Norse theonym Óðinn and its cognates, including Old English Wōden, Old Saxon Wōden, the masculine noun *wōđanaz developed from the Proto-Germanic adjective *wōđaz, related to Latin vātēs and Old Irish fáith, both meaning seer, prophet. Adjectives stemming from *wōđaz include Gothic woþs possessed, Old Norse óðr, mad, frantic, furious, additionally the Old Norse noun æði rage, fury and Old High German wuotī madness derive from the feminine noun *wōđīn, from *wōđaz. Over 170 names are recorded for the god Odin and these names are variously descriptive of attributes of the god, refer to myths involving him, or refer to religious practices associated with the god. This multitude of names makes Odin the god with the most names known among the Germanic peoples, the weekday name Wednesday derives from Old English wōdnesdæg. Cognate terms are found in other Germanic languages, such as Middle Low German wōdensdach, all of these terms derive from Proto-Germanic *Wodensdag, itself a Germanic interpretation of Latin Dies Mercurii. However, in Old High German, the derived from Odins was replaced by a translation of Church Latin media hebdomas. The earliest records of the Germanic peoples were recorded by the Romans and they regard it as a religious duty to offer to him, on fixed days, human as well as other sacrificial victims. Hercules and Mars they appease by animal offerings of the permitted kind, in this instance, Tacitus refers to the god Odin as Mercury, Thor as Hercules, and Týr as Mars, and the identity of the Isis of the Suebi has been debated. But their rankings in their respective religious spheres may have very different
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Frigg
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In Germanic mythology, Frigg, Frija, Frea, and Frige is a goddess. In nearly all sources, she is described as the wife of the god Odin, in Old High German and Old Norse sources, she is also connected with the goddess Fulla. The English weekday name Friday bears her name, Frigg is described as a goddess associated with foreknowledge and wisdom in Norse mythology, the northernmost branch of Germanic mythology and most extensively attested. The children of Frigg and Odin include the gleaming god Baldr, due to significant thematic overlap, scholars have proposed a particular connection to the goddess Freyja. After Christianization, mention of Frigg continued to occur in Scandinavian folklore, in modern times, Frigg has appeared in modern popular culture, has been the subject of art, and receives modern veneration in Germanic Neopaganism. The theonyms Frigg and Frija are cognate forms—linguistic siblings of the same origin—that descend from a substantivized feminine of Proto-Germanic *frijaz, *frijaz descends from the same source as the feminine Sanskrit noun priyā and the feminine Avestan noun fryā. In the modern period, an -a suffix is applied to denote femininity. This spelling also serves the purpose of distancing the goddess from the English word frig, the connection with and possible earlier identification of the goddess Freyja with Frigg in the Proto-Germanic period is a matter of scholarly debate. The name Freyja is not attested outside of Scandinavia, like the name of the group of gods to which Freyja belongs, the Vanir. This is in contrast to the name of the goddess Frigg, who is attested as a common among the Germanic peoples. The best that can be done is to survey the arguments for and against their identity, the English weekday name Friday comes from Old English Frīges Day and is cognate with Old High German frîatac. Both weekday names are result of interpretatio germanica that occurred at or before the 3rd or 4th century CE, several place names refer to Frigg in what are now Norway and Sweden, although her name is altogether absent in recorded place names in Denmark. According to this legend, a people known as the Winnili were ruled by a woman named Gambara who had two sons, Ybor and Agio. The Vandals, ruled by Ambri and Assi, came to the Winnili with their army, Ybor, Agio, and their mother Gambara rejected their demands for tribute. Ambra and Assi then asked the god Godan for victory over the Winnili, to which Godan responded, Whom I shall first see when at sunrise, meanwhile, Ybor and Agio called upon Frea, Godans wife. Frea counseled them that at sunrise the Winnil should come, at sunrise, Frea turned Godans bed around to face east and woke him. Godan saw the Winnili, including their women, and asked who are those Long-beards. Frea responded to Godan, As you have given them a name, Godan did so, so that they should defend themselves according to his counsel and obtain the victory
24.
Mezzo-soprano
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A mezzo-soprano or mezzo is a type of classical female singing voice whose vocal range lies between the soprano and the contralto voice types. The mezzo-sopranos vocal range extends from the A below middle C to the A two octaves above. In the lower and upper extremes, some mezzo-sopranos may extend down to the F below middle C, the mezzo-soprano voice type is generally divided into the coloratura, lyric, and dramatic mezzo-soprano. Mezzo-sopranos are well represented in music, early music. Some roles designated for lighter soubrette sopranos are sung by mezzo-sopranos, such roles include Despina in Mozarts Così fan tutte and Zerlina in his Don Giovanni. Mezzos sometimes play dramatic soprano roles such as Santuzza in Mascagnis Cavalleria rusticana, Lady Macbeth in Verdis Macbeth, the vocal range of the mezzo-sopranos lies between the soprano and the contralto voice types. Mezzo-sopranos generally have a heavier, darker tone than sopranos, the mezzo-soprano voice resonates in a higher range than that of a contralto. The terms Dugazon and Galli-Marié are sometimes used to refer to light mezzo-sopranos, usually men singing within the female range are called countertenors since there is a lighter more breathy tonal quality difference. Within the mezzo-soprano voice type category are three generally recognized subcategories, coloratura mezzo-soprano, lyric mezzo-soprano, and dramatic mezzo-soprano, a coloratura mezzo-soprano has a warm lower register and an agile high register. The roles they sing often demand not only the use of the register but also leaps into the upper tessitura with highly ornamented. They have a range from approximately the G below middle C to the B two octaves above middle C, some coloratura mezzo-sopranos can sing up to high C or high D, but this is very rare. What distinguishes these voices from being called sopranos is their extension into the register and warmer vocal quality. Although coloratura mezzo-sopranos have impressive and at times thrilling high notes, they are most comfortable singing in the middle of their range, many of the hero roles in the operas of Handel and Monteverdi, originally sung by male castrati, can be successfully sung today by coloratura mezzo-sopranos. Rossini demanded similar qualities for his heroines, and Vivaldi wrote roles frequently for this voice as well. Coloratura mezzo-sopranos also often sing lyric-mezzo-soprano roles or soubrette roles, coloratura mezzo-soprano roles in operas, The lyric mezzo-soprano has a range from approximately the G below middle C to the A two octaves above middle C. This voice has a smooth, sensitive and at times lachrymose quality. Lyric mezzo-sopranos do not have the agility of the coloratura mezzo-soprano or the size of the dramatic mezzo-soprano. The lyric mezzo-soprano is ideal for most trouser roles and this voice has less vocal facility than the coloratura mezzo-soprano
25.
Freyja
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In Norse mythology, Freyja is a goddess associated with love, sex, beauty, fertility, gold, seiðr, war, and death. Along with her brother Freyr, her father Njörðr, and her mother, stemming from Old Norse Freyja, modern forms of the name include Freya, Freyia, and Freja. Freyja rules over her heavenly afterlife field Fólkvangr and there receives half of those that die in battle, whereas the other half go to the god Odins hall, within Fólkvangr is her hall, Sessrúmnir. Freyjas husband, the god Óðr, is frequently absent and she cries tears of red gold for him, and searches for him under assumed names. Freyja has numerous names, including Gefn, Hörn, Mardöll, Sýr, Valfreyja, Freyjas name appears in numerous place names in Scandinavia, with a high concentration in southern Sweden. Various plants in Scandinavia once bore her name, but it was replaced with the name of the Virgin Mary during the process of Christianization, rural Scandinavians continued to acknowledge Freyja as a supernatural figure into the 19th century, and Freyja has inspired various works of art. The name Freyja is transparently lady and ultimately derives from Proto-Germanic *frawōn, Freyja is cognate with, for example, Old Saxon frūa lady, mistress and Old High German frouwa. The theonym Freyja is thus considered to have been an epithet in origin, in the Poetic Edda, Freyja is mentioned or appears in the poems Völuspá, Grímnismál, Lokasenna, Þrymskviða, Oddrúnargrátr, and Hyndluljóð. Völuspá contains a stanza that mentions Freyja, referring to her as Óðs girl, Freyja being the wife of her husband, the stanza recounts that Freyja was once promised to an unnamed builder, later revealed to be a jötunn and subsequently killed by Thor. In the poem Grímnismál, Odin tells the young Agnar that every day Freyja allots seats to half of those that are slain in her hall Fólkvangr, while Odin owns the other half. In the poem Lokasenna, where Loki accuses nearly every female in attendance of promiscuity and/or unfaithfulness, the introduction to the poem notes that among other gods and goddesses, Freyja attends a celebration held by Ægir. Loki tells her to be silent, and says that he knows all about her—that Freyja is not lacking in blame, for each of the gods and elves in the hall have been her lover. She says that Loki is lying, that he is just looking to blather about misdeeds, and since the gods and goddesses are furious at him, he can expect to go home defeated. Loki tells Freyja to be silent, calls her a malicious witch, Njörðr interjects—he says that a woman having a lover other than her husband is harmless, and he points out that Loki has borne children, and calls Loki a pervert. The poem Þrymskviða features Loki borrowing Freyjas cloak of feathers and Thor dressing up as Freyja to fool the lusty jötunn Þrymr, in the poem, Thor wakes up to find that his powerful hammer, Mjöllnir, is missing. Thor tells Loki of his hammer, and the two go to the beautiful court of Freyja. Thor asks Freyja if she will lend him her cloak of feathers, Freyja agrees, Loki flies away in the whirring feather cloak, arriving in the land of Jötunheimr. He spies Þrymr sitting on top of a mound, Þrymr reveals that he has hidden Thors hammer deep within the earth and that no one will ever know where the hammer is unless Freyja is brought to him as his wife
26.
Soprano
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A soprano is a type of classical female singing voice and has the highest vocal range of all voice types. The sopranos vocal range is from approximately middle C =261 Hz to high A =880 Hz in choral music, in four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody. The soprano voice type is divided into the coloratura, soubrette, lyric, spinto. The lyric soprano is the most common female singing voice, the word soprano comes from the Italian word sopra, as the soprano is the highest pitch human voice, often given to the leading female roles in operas. The term soprano is also based on the Latin word superius which, like soprano, the word superius was especially used in choral and other multi-part vocal music between the 13th and 16th centuries. The soprano has the highest vocal range of all voice types, a soprano and a mezzo-soprano have a similar range, but their tessituras will lie in different parts of that range. The low extreme for sopranos is roughly A3 or B♭3, within opera, the lowest demanded note for sopranos is F3. Often low notes in higher voices will project less, lack timbre, however, rarely is a soprano simply unable to sing a low note in a song within a soprano role. The high extreme, at a minimum, for non-coloratura sopranos is soprano C, a couple of roles have optional E♭6s, as well. In the coloratura repertoire several roles call for E♭6 on up to F6, in rare cases, some coloratura roles go as high as G6 or G♯6, such as Mozarts concert aria Popoli di Tessaglia. Or the title role of Jules Massenets opera Esclarmonde, while not necessarily within the tessitura, a good soprano will be able to sing her top notes full-throated, with timbre and dynamic control. In opera, the tessitura, vocal weight, and timbre of voices, a singers tessitura is where the voice has the best timbre, easy volume, and most comfort. Within the soprano voice type category are five generally recognized subcategories, coloratura soprano, soubrette, lyric soprano, spinto soprano, the coloratura soprano may be a lyric coloratura or a dramatic coloratura. The lyric coloratura soprano is a very agile light voice with a high upper extension capable of fast vocal coloratura, Light coloraturas have a range of approximately middle C to high F with some coloratura sopranos being able to sing somewhat higher or lower. Dramatic coloraturas have a range of approximately low B to high F with some coloratura sopranos being able to sing higher or lower. In classical music and opera, a soubrette soprano refers to both a type and a particular type of opera role. A soubrette voice is light with a bright, sweet timbre, a tessitura in the mid-range, the soubrette voice is not a weak voice, for it must carry over an orchestra without a microphone like all voices in opera. The voice, however, has a lighter weight than other soprano voices with a brighter timbre
27.
Thor
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In Norse mythology, Thor is a hammer-wielding god associated with thunder, lightning, storms, oak trees, strength, the protection of mankind, and also hallowing and fertility. The cognate deity in wider Germanic mythology and paganism was known in Old English as Þunor and in Old High German as Donar, into the modern period, Thor continued to be acknowledged in rural folklore throughout Germanic regions. Thor is frequently referred to in place names, the day of the week Thursday bears his name, in Norse mythology, largely recorded in Iceland from traditional material stemming from Scandinavia, numerous tales and information about Thor are provided. With Sif, Thor fathered the goddess Þrúðr, with Járnsaxa, he fathered Magni, with a mother whose name is not recorded, he fathered Móði, and he is the stepfather of the god Ullr. The same sources list Thor as the son of the god Odin and the earth, Jörð. Thor has two servants, Þjálfi and Röskva, rides in a cart or chariot pulled by two goats, Tanngrisnir and Tanngnjóstr, and is ascribed three dwellings. Thor wields the mountain-crushing hammer, Mjölnir, wears the belt Megingjörð and the iron gloves Járngreipr, Thor has inspired numerous works of art and references to Thor appear in modern popular culture. Like other Germanic deities, veneration of Thor is revived in the period in Heathenry. The name of the god is the origin of the weekday name Thursday, by employing a practice known as interpretatio germanica during the Roman Empire period, the Germanic peoples adopted the Roman weekly calendar, and replaced the names of Roman gods with their own. Latin dies Iovis was converted into Proto-Germanic *Þonares dagaz, from which stems modern English Thursday, beginning in the Viking Age, personal names containing the theonym Thórr are recorded with great frequency. Prior to the Viking Age, no examples are recorded, thórr-based names may have flourished during the Viking Age as a defiant response to attempts at Christianization, similar to the wide scale Viking Age practice of wearing Thors hammer pendants. They regard it as a duty to offer to him, on fixed days. Hercules and Mars they appease by animal offerings of the permitted kind, in this instance, Tacitus refers to the god Odin as Mercury, Thor as Hercules, and the god Týr as Mars, and the identity of the Isis of the Suebi has been debated. In Thors case, the identification with the god Hercules is likely at least in part due to similarities between Thors hammer and Hercules club. In his Annals, Tacitus again refers to the veneration of Hercules by the Germanic peoples, Donar, the southern Germanic form of the gods name. According to an account, the Christian missionary Saint Boniface felled an oak tree dedicated to Jove in the 8th century. Around the second half of the 8th century, Old English mentions of a figure named Thunor are recorded, gabriel Turville-Petre saw this as an invented origin for the placename demonstrating loss of memory that Thunor had been a gods name. Adam details that Thor, they reckon, rules the sky, he governs thunder and lightning, winds and storms, fine weather and fertility and that Thor, with his mace, looks like Jupiter
28.
Baritone
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A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice types. It is the most common male voice, the baritone voice type is generally divided into the baryton-Martin baritone, lyric baritone, Kavalierbariton, Verdi baritone, dramatic baritone, baryton-noble baritone, and the bass-baritone. The first use of the term baritone emerged as baritonans, late in the 15th century, at this early stage it was frequently used as the lowest of the voices, but in 17th-century Italy the term was all-encompassing and used to describe the average male choral voice. Baritones took roughly the range as it is today at the beginning of the 18th century. Indeed, many works of the 18th century have roles marked as bass that in reality are low baritone roles. Examples of this are to be found, for instance, in the operas, the greatest and most enduring parts for baritones in 18th-century operatic music were composed by Wolfgang Amadeus Mozart. They include Count Almaviva in The Marriage of Figaro, Guglielmo in Così fan tutte, Papageno in The Magic Flute and these included the likes of Filippo Galli, Giovanni Inchindi, and Henri-Bernard Dabadie. The basse-taille and the bass were commonly confused because their roles were sometimes sung by singers of either actual voice part. The bel canto style of vocalism which arose in Italy in the early 19th century supplanted the castrato-dominated opera seria of the previous century and it led to the baritone being viewed as a separate voice category from the bass. More often than not, however, baritones found themselves portraying villains, the principal composers of bel canto opera are considered to be, Gioachino Rossini, Gaetano Donizetti, Vincenzo Bellini, Giacomo Meyerbeer, and the young Giuseppe Verdi. Figaro in Il barbiere is often called the first true baritone role, however, Donizetti and Verdi in their vocal writing went on to emphasize the top fifth of the baritone voice, rather than its lower notes—thus generating a more brilliant sound. The major international baritone of the first half of the 19th century was the Italian Antonio Tamburini and he was a famous Don Giovanni in Mozarts eponymous opera as well as being a Bellini and Donizetti specialist. Commentators praised his voice for its beauty, flexibility and smooth tonal emission, Tamburinis range, however, was probably closer to that of a bass-baritone than to that of a modern Verdi baritone. His French equivalent was Henri-Bernard Dabadie, who was a mainstay of the Paris Opera between 1819 and 1836 and the creator of several major Rossinian baritone roles, including Guillaume Tell. Dabadie sang in Italy, too, where he originated the role of Belcore in Lelisir damore in 1832, the most important of Tamburinis Italianate successors were all Verdians. In France, Paul Barroilhet succeeded Dabadie as the Paris operas best known baritone, like Dabadie, he also sang in Italy and created an important Donizetti role, in his case, Alphonse in La favorite. Antonio Pini-Corsi was the standout Italian buffo baritone in the period between about 1880 and World War I, reveling in comic roles by Rossini, Donizetti and Paer. In 1893, he created the part of Ford in Verdis last opera, notable among their contemporaries were the cultured and technically adroit French baritones Jean Lassalle, Victor Maurel, Paul Lhérie, and Maurice Renaud
29.
Freyr
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Freyr or Frey is one of the most important gods of Norse religion. The name is conjectured to derive from the Proto-Norse *frawjaz, lord, Freyr was associated with sacral kingship, virility and prosperity, with sunshine and fair weather, and was pictured as a phallic fertility god, Freyr is said to bestow peace and pleasure on mortals. Freyr, sometimes referred to as Yngvi-Freyr, was associated with Sweden and seen as an ancestor of the Swedish royal house. In the Icelandic books the Poetic Edda and the Prose Edda, Freyr is presented as one of the Vanir, the gods gave him Álfheimr, the realm of the Elves, as a teething present. He rides the shining dwarf-made boar Gullinbursti and possesses the ship Skíðblaðnir which always has a favorable breeze and can be folded together and he has the servants Skírnir, Byggvir and Beyla. The most extensive surviving Freyr myth relates Freyrs falling in love with the female jötunn Gerðr, eventually, she becomes his wife but first Freyr has to give away his magic sword which fights on its own if wise be he who wields it. Although deprived of this weapon, Freyr defeats the jötunn Beli with an antler, however, lacking his sword, Freyr will be killed by the fire jötunn Surtr during the events of Ragnarök. Like other Germanic deities, veneration of Freyr is revived in the period in Heathenry. Written around 1080, one of the oldest written sources on pre-Christian Scandinavian religious practices is Adam of Bremens Gesta Hammaburgensis ecclesiae pontificum, Adam claimed to have access to first-hand accounts on pagan practices in Sweden. He refers to Freyr with the Latinized name Fricco and mentions that an image of him at Skara was destroyed by the Christian missionary and his description of the Temple at Uppsala gives some details on the god. Later in the account Adam states that when a marriage is performed a libation is made to the image of Fricco, historians are divided on the reliability of Adams account. While he is close in time to the events he describes he has an agenda to emphasize the role of the Archbishopric of Hamburg-Bremen in the Christianization of Scandinavia. His timeframe for the Christianization of Sweden conflicts with other sources, such as runic inscriptions, on the other hand, the existence of phallic idols was confirmed in 1904 with a find at Rällinge in Södermanland. When Snorri Sturluson was writing in 13th century Iceland, the indigenous Germanic gods were still remembered although they had not been openly worshiped for more than two centuries, in the Gylfaginning section of his Prose Edda, Snorri introduces Freyr as one of the major gods. This description has similarities to the account by Adam of Bremen. Adam assigns control of the weather and produce of the fields to Thor, Snorri also omits any explicitly sexual references in Freyrs description. Those discrepancies can be explained in several ways and it is possible that the Norse gods did not have exactly the same roles in Icelandic and Swedish paganism but it must also be remembered that Adam and Snorri were writing with different goals in mind. Either Snorri or Adam may also have had distorted information, the only extended myth related about Freyr in the Prose Edda is the story of his marriage
30.
Tenor
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Tenor is a type of classical male singing voice whose vocal range is one of the highest of the male voice types. The tenors vocal range lies between C3, the C one octave below middle C, and A4, the A above middle C, in solo work, this range extends up to C5, or tenor high C. The low extreme for tenors is roughly A♭2, at the highest extreme, some tenors can sing up to two Fs above middle C. The tenor voice type is divided into the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor. The name tenor derives from the Latin word tenere, which means to hold, in medieval and Renaissance polyphony between about 1250 and 1500, the tenor was the structurally fundamental voice, vocal or instrumental. All other voices were normally calculated in relation to the tenor, until the late 16th century introduction of the contratenor singers, the tenor was usually the highest voice, assuming the role of providing a foundation. It was also in the 18th century that tenor came to signify the male voice that sang such parts, thus, for earlier repertoire, a line marked tenor indicated the parts role, and not the required voice type. Indeed, even as late as the century, partbooks labelled tenor might contain parts for a range of voice types. The vocal range of the tenor is one of the highest of the voice types. Within opera, the lowest note in the tenor repertoire is probably A♭2 in Rossinis rarely performed La donna del lago in the role of Rodrigo di Dhu. Within more frequently performed repertoire, Mime and Herod both call for an A2, a few tenor roles in the standard repertoire call for a tenor C. Some of the few top Cs in the operatic repertoire are either optional or interpolated by tradition. However, the highest demanded note in the standard operatic repertoire is D5. Some operatic roles for tenors require a darker timbre and fewer high notes, in the leggero repertoire, the highest note is F5, therefore, very few tenors can, given the raising of concert pitch since its composition, have this role in their repertoire without transposition. Within the tenor voice type category are seven generally recognized subcategories, leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, Mozart tenor, Also known as the tenore di grazia, the leggero tenor is essentially the male equivalent of a lyric coloratura. This voice is light, agile, and capable of executing difficult passages of fioritura, the typical leggero tenor possesses a range spanning from approximately C3 to E♭5, with a few being able to sing up to F5 or higher in full voice. In some cases, the chest register of the leggero tenor may extend below C3, voices of this type are utilized frequently in the operas of Rossini, Donizetti, Bellini and in music dating from the Baroque period. Leggero tenor roles in operas, The lyric tenor is a warm voice with a bright, full timbre that is strong but not heavy
31.
Contralto
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A contralto is a type of classical female singing voice whose vocal range is the lowest female voice type. The contralto voice type is divided into the coloratura, lyric. Contralto is primarily meaningful only in reference to classical and operatic singing, the term contralto is only applied to female singers, men singing in a similar range are called countertenors. A true contralto is often regarded as the rarest of the female voices, some vocal theorists have found that the vocal folds are thicker than those present in other female voices. Studies have used cameras to photograph visible differences which are found in countertenors. The contralto has the lowest vocal range of the voice types. The contralto voice range is between tenor and mezzo-soprano, although tenors and baritones are usually male singers, some women can sing as low and are called female tenors or female baritones. With the exception of very rare female singers, such terms are usually informal, more formal terminology would be contralto profundo and contralto basso or oktavistka but these are not traditionally named among the fach system. Some of the rare contraltos that can sing the female equivalent of tenor and baritone include Zarah Leander, Ruby Helder, within the contralto voice type category are three generally recognized subcategories, coloratura contralto, lyric contralto, and dramatic contralto. Given its deviations from the norms, this voice type is quite rare. The lyric contralto voice is lighter than a dramatic contralto but not capable of the ornamentation and this class of contralto, lighter in timbre than the others, is the most common today and usually ranges from the E below middle C to the second G above middle C. The dramatic contralto is the deepest, darkest, and heaviest contralto voice, usually having a heavier tone, singers in this class are rare. True operatic contraltos are rare, and the operatic literature contains few roles written specifically for them, a common saying among contraltos is that they may play only witches, bitches, or britches. Examples of contralto roles in the operatic repertoire include the following. * indicates a role that may also be sung by a mezzo-soprano, category of contraltos List of operatic contraltos Fach, the German system for classifying voices Voice classification in non-classical music List of contraltos in non-classical music Coffin, Berton. Coloratura, Lyric and Dramatic Soprano, Vol.1, vocal Workouts for the Contemporary Singer. Media related to Contralto vocalists at Wikimedia Commons The dictionary definition of Contralto at Wiktionary
32.
Loki
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In Norse mythology, Loki, Loptr, or Hveðrungr is a god or jötunn. Loki is the son of Fárbauti and Laufey, and the brother of Helblindi, by the jötunn Angrboða, Loki is the father of Hel, the wolf Fenrir, and the world serpent Jörmungandr. By his wife Sigyn, Loki is the father of Narfi and/or Nari, by the stallion Svaðilfari, Loki is the mother—giving birth in the form of a mare—to the eight-legged horse Sleipnir. In addition, Loki is referred to as the father of Váli in Prose Edda, though this also refers to Odin as the father of Váli twice. Lokis relation with the gods varies by source, Loki sometimes assists the gods, Loki is a shape shifter and in separate incidents he appears in the form of a salmon, a mare, a fly, and possibly an elderly woman named Þökk. Lokis positive relations with the end with his role in engineering the death of the god Baldr. In both the Poetic Edda and the Prose Edda, the goddess Skaði is responsible for placing a serpent above him while he is bound, Loki may be depicted on the Snaptun Stone, the Kirkby Stephen Stone, and the Gosforth Cross. Lokis origins and role in Norse mythology, which scholars have described as that of a trickster god, have been much debated by scholars. Loki has been depicted in or is referenced in a variety of media in popular culture. The etymology of the name Loki has yet to be solved and it may be related to Old Norse luka, meaning close, shut. The name Hveðrungr is also used in reference to Loki, occurring in names for Hel, in the Poetic Edda, Loki appears in the poems Völuspá, Lokasenna, Þrymskviða, Reginsmál, Baldrs draumar, and Hyndluljóð. In stanza 35 of the Poetic Edda poem Völuspá, a völva tells Odin that, among other things, she sees Sigyn sitting very unhappily with her bound husband, Loki. In stanza 54, after consuming Odin and being killed by Odins son Víðarr, the poem Lokasenna centers around Loki flyting with other gods, Loki puts forth two stanzas of insults while the receiving figure responds with a single stanza, and then another figure chimes in. The poem begins with an introduction detailing that Ægir, a figure associated with the sea, is hosting a feast in his hall for a number of the gods. There, the gods praise Ægirs servers Fimafeng and Eldir, Loki could not bear to hear that, and kills the servant Fimafeng. In response, the gods grab their shields, shrieking at Loki, the gods then return to the hall, and continue drinking. Entrance and rejection Loki comes out of the woods, and meets Eldir outside of the hall, Loki greets Eldir with a demand that Eldir tell him what the gods are discussing over their ale inside the hall. Eldir responds that they discuss their weapons and their prowess in war, Loki says that he will go into the feast, and that, before the end of the feast, he will induce quarrelling among the gods, and mix their mead with malice
33.
Norns
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The Norns in Norse mythology are female beings who rule the destiny of gods and men. They roughly correspond to other controllers of humans destiny, the Fates, in Snorri Sturlusons interpretation of the Völuspá, Urðr, Verðandi and Skuld, the three most important of the Norns, come out from a hall standing at the Well of Urðr or Well of Fate. They draw water from the well and take sand that lies around it and these three Norns are described as powerful maiden giantesses whose arrival from Jötunheimr ended the golden age of the gods. They may be the same as the maidens of Mögþrasir who are described in Vafþrúðnismál, beside these three famous Norns, there are many others who appear at a persons birth in order to determine his or her future. In the pre-Christian Norse societies, Norns were thought to have visited newborn children, there were both malevolent and benevolent Norns, the former caused all the malevolent and tragic events in the world while the latter were kind and protective goddesses. The origin of the name norn is uncertain, it may derive from a meaning to twine. Bek-Pedersen suggests that the word norn has relation to the Swedish dialect word norna and this relates to the perception of norns as shadowy, background figures who only really ever reveal their fateful secrets to men as their fates come to pass. It should be noted that wyrd and urðr are etymological cognates, both Urðr and Verðandi are derived from the Old Norse verb verða, to be. While Urðr derives from the past tense, Verðandi derives from the present tense of verða, Skuld is derived from the Old Norse verb skulla, need/ought to be/shall be, its meaning is that which should become, or that needs to occur. There is no distinction between norns, fylgjas, hamingjas and valkyries, nor with the generic term dísir. Moreover, artistic license permitted such terms to be used for women in Old Norse poetry. To quote Snorri Sturlusons Skáldskaparmál on the names used for women. There are a number of surviving Old Norse sources that relate to the norns, the most important sources are the Prose Edda and the Poetic Edda. A skaldic reference to the norns appears in Hvinis poem in Ynglingatal 24 found in Ynglingasaga 47 and this reference brings in the phrase norna dómr which means judgment of the nornir. In most cases, when the norns pass judgment, it means death to those who have been judged - in this case, along with being associated with being bringers of death, Bek-Pedersen suggests that this phrase brings in a quasi-legal aspect to the nature of the norns. This legal association is employed quite frequently within skaldic and eddic sources and this phrase can also be seen as a threat, as death is the final and inevitable decision that the norns can make with regard to human life. The Poetic Edda is valuable in representing older material in poetry from which Snorri tapped information in the Prose Edda, like Gylfaginning, the Poetic Edda mentions the existence of many lesser norns beside the three main norns. Moreover, it agrees with Gylfaginning by telling that they were of several races
34.
Sigmund
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In Norse mythology, Sigmund is a hero whose story is told in the Völsunga saga. He and his sister, Signý, are the children of Völsung, Sigmund is best known as the father of Sigurð the dragon-slayer, though Sigurðs tale has almost no connections to the Völsung cycle. In the Völsunga saga, Signý marries Siggeir, the king of Gautland, Völsung and Sigmund are attending the wedding feast, when Odin, disguised as a beggar, plunges a sword into the living tree Barnstokk around which Völsungs hall is built. The disguised Odin announces that the man who can remove the sword will have it as a gift, only Sigmund is able to free the sword from the tree. Siggeir is smitten with envy and desire for the sword and he tries to buy it but Sigmund refuses. Siggeir invites Sigmund, his father Völsung and Sigmunds nine brothers to him in Gautland to see the newlyweds three months later. When the Völsung clan arrive, they are attacked by the Gauts, King Völsung is killed, Signý beseeches her husband to spare her brothers and to put them in stocks instead of killing them. As Siggeir thinks that the brothers deserve to be tortured before they are killed and he then lets his shapeshifting mother turn into a wolf and devour one of the brothers each night. During that time, Signý tries various ruses but fails every time until only Sigmund remains, Sigmund then escapes his bonds and hides in the forest. Signý brings Sigmund everything he needs, bent on revenge for their fathers death, she also sends her sons to him in the wilderness, one by one, to be tested. As each fails, she urges Sigmund to kill them, until one day when he refuses to continue killing innocent children, finally, in despair, she comes to him in the guise of a völva and conceives a child by him, Sinfjötli. Sinfjötli, born of their incest, passes the test, Sigmund and his son/nephew, Sinfjötli, grow wealthy as outlaws. In their wanderings, they come upon men sleeping in cursed wolf skins, upon killing the men and putting on the wolf skins, they are cursed with a type of lycanthropy. Eventually, they avenge the death of Völsung, after Signý dies, Sigmund and Sinfjötli go harrying together. Sigmund marries a woman named Borghild and has two sons, one of them named Helgi, Sinfjötli slays Borghilds brother while vying for a woman they both want. Borghild avenges her brother by poisoning Sinfjötli, later, Sigmund marries a woman named Hjördís. After a short time of peace, Sigmunds lands are attacked by King Lyngi, in battle, Sigmund matches up against an old man who is Odin in disguise. Odin shatters Sigmunds sword, and Sigmund falls at the hands of others, dying, he tells Hjördís that she is pregnant and that her son will one day make a great weapon out of the fragments of his sword
35.
Sigurd
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Sigurd is a legendary hero of Norse mythology, as well as the central character in the Völsunga saga. The earliest extant representations for his legend come in form from seven runestones in Sweden and most notably the Ramsund carving. As Siegfried, he is one of the heroes in the German Nibelungenlied, as Sivard Snarensven he was the hero of several medieval Scandinavian ballads. The name Sigurðr is not the name as the German Siegfried. The Old Norse form of Siegfried would have been Sigfroðr, Sivard is a variant form of Sigurðr. These name forms all share the first element Sig-, which means victory, in the Völsunga saga, Sigurd is supposedly the posthumous son of Sigmund and his second wife, Hiordis. Sigmund dies in battle when he attacks Odin, and Odin shatters Sigmunds sword, dying, Sigmund tells Hiordis of her pregnancy and bequeaths the fragments of his sword to his unborn son. Hiordis marries King Alf, and then Alf decides to send Sigurd to Regin as a foster, Regin tempts Sigurd to greed and violence by first asking Sigurd if he has control over Sigmunds gold. When Sigurd says that Alf and his control the gold and will give him anything he desires. Sigurd replies that he is treated as an equal by the kings, then Regin asks Sigurd why he acts as stableboy to the kings and has no horse of his own. Sigurd then goes to get a horse, an old man advises Sigurd on choice of horse. In this way Sigurd acquires Grani, a directly descended from Odins own horse. Finally, Regin tries to tempt Sigurd by telling him the story of the Otters Gold, Regin explains to Sigurd that his father is Hreidmar, a powerful magician, and that his two brothers are Ótr and Fafnir. Regin explains that he is a master at smithing and he also describes how his brother, Ótr possesses many magical talents. Regin tells a story of how Ótr enjoys taking the form of an otter and swimming at a waterfall, Andvari often assumes the form of a pike and swims in the same pool as well. One day, the Æsir see Ótr in the form of an otter carrying a fish in his mouth on the banks, loki kills him for his pelt. They take the pelt to the home of Hreidmar to display their catch. Hreidmar, Fafnir, and Regin promptly seize the Æsir and demand compensation for the death of Ótr, loki acquires a net from the sea giantess, Rán
36.
Bass (voice type)
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A bass is a type of classical male singing voice and has the lowest vocal range of all voice types. According to The New Grove Dictionary of Opera, a bass is typically classified as having a range extending from around the second E below middle C to the E above middle C. Its tessitura, or comfortable range, is defined by the outermost lines of the bass clef. Categories of bass voices vary according to style and classification system. Italians favour subdividing basses into the basso cantante, basso buffo, the American system identifies the bass-baritone, comic bass, lyric bass, and dramatic bass. The German fach system offers further distinctions, Spielbaß, Schwerer Spielbaß, Charakterbaß, rare is the performer who embodies a single fach without also touching repertoire from another category. Cultural influence and individual variation create a variation in range. Many British composers such as Benjamin Britten have written parts for bass that center far higher than the bass tessitura as implied by the clef, the Harvard Dictionary of Music defines the range as being from the E below low C to middle C. The bass has the lowest vocal range of all voice types, the low extreme for basses is generally C2. However, several extreme bass singers, referred to as basso profondos, within opera, the lowest note in the standard bass repertoire is D2, sung by the character Osmin in Mozarts Die Entführung aus dem Serail, but few roles fall below F2. The high extreme, a few roles in the standard repertoire call for a high F♯ or G. In the operatic repertoire, the highest notes are a G♯4 and, in the aria Fra lombre e glorrori in Handels serenata Aci. Basso cantante is a higher, more lyrical voice and it is produced using a more Italianate vocal production, and possesses a faster vibrato, than its closest Germanic/Anglo-Saxon equivalent, the bass-baritone. Hoher Bass or high bass or often a dramatic bass-baritone, jugendlicher Bass denotes the role of a young man sung by a bass, regardless of the age of the singer. They are usually the blustering antagonist of the hero/heroine or the fool in bel canto operas. English equivalent, dramatic bass Basso profondo is the lowest bass voice type, steane in Voices, Singers & Critics, the basso profondo voice derives from a method of tone-production that eliminates the more Italian quick vibrato. In its place is a kind of tonal solidity, a front, which may nevertheless prove susceptible to the other kind of vibrato. Dramatic basso profondo is a basso profondo voice
37.
Gunther
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Gunther was a semi-legendary King of Burgundy in the early 5th century. In 406 the Alans, Vandals, the Suevi, and possibly the Burgundians crossed the Rhine, in 411 AD, the Burgundian king Gundahar or Gundicar set up a puppet emperor, Jovinus, in cooperation with Goar, king of the Alans. With the authority of the Gallic emperor that he controlled, Gundahar settled on the left or western bank of the Rhine, apparently as part of a truce, the Emperor Honorius later officially granted them the land. Olympiodorus of Thebes also mentions a Guntiarios who was called commander of the Burgundians in the context of the 411 usurping of Germania Secunda by Jovinus, Gundahar was killed in the fighting, reportedly along with the majority of the Burgundian tribe. In Old Norse sources, the names are Gunnar, Brynhild, Sigurd, in the Waltharius, Gibicho and his son Guntharius are kings of the Franks, whereas the king of the Burgundians is named Heriricus who is father to Hiltgunt, the heroine of the story. Hagano appears here as a kinsman of Gibicho and Guntharius, in their combats with Waltharius, Guntharius loses a leg, Hagano loses half his face and one eye, and Waltharius loses a hand. But there is no hint in later tales that Gunther is in any way maimed, another version of the story of Waltharius and Hiltgunt appears in the Norse Thidreks saga, but in this account Gunther plays no part at all. Gunther otherwise only appears in tales relating to Siegfried and the fall of the Niflungs, in most texts, such as the Nibelungenlied, Gunther/Gunnar seeks to make Brünhild his wife, but can win her and master her only because the hero Siegfried/Sigurd aids him and takes his place. An impassioned debate between Brünhild and Kriemhild about their respective status leads to the secret that Siegfried had taken Gunthers place being revealed, Gunther then agrees to assist in Siegfrieds murder. After Siegfried is murdered, Brünhild commits suicide, Gunther and his brothers, despite deep suspicions of treachery, accept an invitation from Etzel, or Atli in Old Norse, to visit his court. There Gunther and his brothers were betrayed, in some versions of the story, they were thrown in a snake pit to die, while in others they were killed fighting the Huns and their allies. According to the Norse poem Atlamal, Gunnar remarried after Brynhilds death to a woman named Glaumvor and these stories were later adapted by Richard Wagner into Der Ring Des Nibelungen. Gunther appears in the last part Gotterdammerung, from there events happen in a similar manner to the Volsung Saga. After Hagen kills Siegfried he and Gunther argue over the Ring, leading to Hagen murdering Gunther
38.
Gudrun
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Gudrun is a major figure in early Germanic literature that is centred on the hero Sigurd, son of Sigmund. She appears as Kriemhild in the Nibelungenlied and as Gutrune in Wagners Der Ring des Nibelungen, in Norse mythology, Gudrun is the sister of king Gunnar. She falls in love with Sigurd, who does not care for her, as he is in love with the valkyrie Brynhild, to whom he once gave the ring of Andvaranaut. Gudruns brother Gunnar also wished to marry Brynhild, but this was impossible as she had sworn to marry only the man who could defeat her in a fair fight, in another version of the myth, Brynhild is imprisoned inside a ring of fire as punishment by Odin. Sigurd fights his way through the fire and promises to marry Brynhild, Sigurd then switches bodies with Gunnar and, in this guise, gallops through the fire and wins Brynhild again, who is deceived by this ruse into marrying the real Gunnar. Gunnar had agreed to Sigurds marrying Gudrun under the condition that Sigurd would win Brynhild for him first, when he was disguised as Gunnar, Sigurd also took the ring of Andvaranaut from Brynhild and gave it to Gudrun as his morning gift. Both queens, Gudrun and Brynhild, were married on the same day, gudruns mother, Grimhild, called Ute in the Nibelungenlied, mixes a potion to make Sigurd forget his love for Brynhild. Later, when Brynhild learns that she has tricked into marrying the inferior Gunnar, she exacts vengeance by telling Gunnar that Sigurd had taken liberties with her. Gudrun is so overcome with grief at the death of the one she loves that she cannot weep, the royal court fears for her life, and when finally her sister shows Sigurds corpse to Gudrun, tears flow at last. Gudrun laments her lost husband and predicts the death of his killer, her own brother Gunnar, in the northern version, Atli is responsible for the death of her whole family, who bear the name Völsung/Niebelungen after the Nibelung gold treasure. The queen takes revenge for her family by killing her two sons by Atli, Erp and Eitil, and serving them to their father at a feast. Then, when Atli is solidly drunk, she breaks the news to him, Gudrun sets fire to Atlis hall and she tries to drown herself by jumping into the sea with an armful of stones. The waves find her revenge fitting, however, and instead of drowning her, they carry her to Sweden, Svanhild, her daughter by Sigurd, is wooed by Ermanaric, but is accused wrongly of adultery and is killed by her husband. Gudrun also has a son by Sigurd, named Sigmund, subsequently, her three sons are killed when they avenge Svanhild. In the southern version of the saga, Gudrun, here Kriemhild, kills her brothers to get back the Nibelung gold, a south German / Austrian epic also has a principal female character called Kudrun, but her story is quite different. In the legend of the Wild Hunt, Gudhrun Gjúkadottir is referred to as Guro Rysserova, in 1924, Fritz Lang and Thea von Harbou produced Die Nibelungen, Kriemhilds Rache. Kriemhild was played by actress Margarete Schön, in the 2005 TV epic Ring of the Nibelungs, American actress Alicia Witt played Kriemhild in an adaptation of the Nibelungenlied saga. Gudrun plays a prominent role in J. R. R. Tolkiens adaptation of the Völsung legend, The Legend of Sigurd and Gudrún
39.
Hagen (legend)
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Hagen or Högni is a Burgundian warrior in tales about the Burgundian kingdom at Worms. Hagen is often identified as a brother or half-brother of King Gunther, in the Nibelungenlied he is nicknamed from Tronje. Of the main manuscripts of the Nibelungenlied, the representatives of versions B and C use the spelling Tronege, from Tronege Hagene, Hagen of Tronege, geborn of Tronege. The A version usually writes Trony, Tronje is the appropriate modern German form. In the B and C versions, the name is in the case, with the nominative being Troneg, Tronje. All attempts to interpret Hagens name or home are highly speculative, although the Nibelungenlied has a historic center, it was written down only centuries later, in 1200, and therefore incorporated the authors Medieval knowledge and intentions. There are suggestions that the epithet refers to more or less similar-sounding place names, with this ascription, people could also connect themselves to the ancient Romans. Tronje could also be the Colonia Ulpia Traiana, a Roman city close to modern Xanten, and this would explain Hagens seemingly profound knowledge of incidents and deeds from Siegfrieds youth. The Belgian city of Drongen in Ghent was known in Latin as Truncinas and had various Romanesque spellings over the centuries, Truncinas, Truncinis. Today, its French name is Tronchiennes, which sounds almost like Tronje, dutch authors place the Kudrun saga here since it contains townscape and landscape names such as Wulpe Tenenbaums. According to this interpretation, Hagen of the Nibelungenlied could be identical with the Hagen of the Kudrun, not too far away, there are place names that hint at further figures from the Nibelungenlied, especially Hagens relative Ortwin of Metz and his colleagues Hunold and Volker von Alzey. Based on the castles around Dhronecken, Ortwin can be assigned to Metz, Hagen to Dhronecken, Hunold to Hunoldispetra and these are places that travelers coming from Xanten and over Metz and Worms to Passau, would pass along the way. In the Nibelungenlied, he is called Hagen of Tronje, some versions indicate he is the Oheim of the three kings, i. e. their mother Utes brother. In German tradition, Hagen is especially grim, implacable, and violent, according to the Thidreks saga, Hagen was Gunnars half-brother. Not fully human, though, as being fathered by an elf on the wife while the king was away. In these forementioned accounts, it is Hagen who kills the hero Siegfried during a hunt and this version of the character appears in Wagners Der Ring des Nibelungen. In Norse tradition, Hagens counterpart Högni is less extreme and the slayer of Sigurd is Gutthorm. But Gutthorm does so when egged on by his elder brothers, in German accounts, Gunther and Hagen are the final casualties of the fall of the Nibelungs
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