The ensuing great dialogue between Loge and Alberich, in which Wotan only occasionally intervenes, is a verbal duel between enemies, each conscious of his own strength and aware of the other’s purpose. The contrast between the two must be brought out in every detail of the musical declamation and stage action. Alberich’s facial expression should at times reveal the threat of annihilation, welling up, as it were, from the depths of the night; Loge’s features, on the other hand, should express the cheerful mockery of a superior intellect pursuing a goal within certain reach.” [869W-{6-8/76} WRR, p. 31]
[870W-{6-8/76} WRR, p. 38-39]
[P. 38] {FEUER} One small point which had a symbolic importance later must not be passed over: Wagner instructed Fafner, while he was gathering up the treasure, to leave behind a worthless-looking, worn-out old sword. (…) [P. 39] {FEUER} As the new theme is sounded, signifying a new deed to be accomplished in the future: … Wotan, seized by a great thought, picks up the sword left by Fafner and, pointing to the castle, cries, ‘So gruess ich die Burg, sicher vor Bang’ und Grau’n!’ “ [870W-{6-8/76} WRR, p. 38-39]
[871W-{6-8/76} WRR, p. 65]
[P. 65] “Wagner was especially insistent that after the B major fortissimo every detail of the Valkyries’ rapid exchanges should be absolutely clear – there was nothing he hated so much as blurred, indistinct words, notes or gestures.” [871W-{6-8/76} WRR, p. 65]
[872W-{6-8/76} WRR, p. 69]
[P. 69] “Into her ecstatic outcry: ‘O hehrstes Wunder!’ Sieglinde must put all the intensity of which she is capable, she must release a great flood of emotion, enraptured and enrapturing.” [* Porges’ Footnote: “It is well known that this supremely lovely melody, banishing the terror of death, is employed at the close of Goetterdaemmerung as the song of redemption that overcomes the power of fate.”]” [872W-{6-8/76} WRR, p. 69]
[873W-{6-8/76} WRR, p. 81]
[P. 81] “This is the soil from which springs that new style, in which the ideal is permeated by fidelity to nature – that new style which constitutes the originality of the Nibelung trilogy in the history of art.” [873W-{6-8/76} WRR, p. 81]
[874W-{6-8/76} WRR, p. 91]
[P. 91] “The powerful piece (combining the Wanderer’s theme with the accompanying figure of the Ride of the Valkyries) that depicts Wotan’s stormy departure: … should be played in a strict tempo which, even during the melody from ‘Die Walkuere’: … must not be relaxed, so that we have the feeling that Wotan’s memory of Bruennhilde is a purely inner psychic event (ein rein innerlicher Seelenvorgang).” [874W-{6-8/76} WRR, p. 91]
