[888W-{6-8/76} WRR, p. 123]
[P. 123] {FEUER} “The accompaniment of Hagen’s preparation for the ‘Blood-brothershop' calls for a particularly vigorous performance; the sequence based on the Gutrune motive: … should have a powerful forward drive. Special attention must be paid to the moment when we have the feeling that Siegfried’s sudden passion for Gutrune is a force of destiny impelling him.” [888W-{6-8/76} WRR, p. 123]
[889W-{6-8/76} WRR, p. 129]
[P. 129] “The wonderful canonic piece, depicting nature’s rebirth at the dawn of a new day, built on the bass clarinet melody and developed by eight horns: … was intoned and phrased with a delightful smoothness and captivating poetry. The conversation that ensues between Gutrune, Hagen and the returned Siegfried must be performed with the greatest possible ease and facility. ‘A very detailed dialogue’ ‘ a kind of lively conversation on the stage to be kept wholly in the style of comic opera’: these were the clues Wagner gave and only if they are strictly followed can the right effect be created: the feeling of exuberant joy expressed in Siegfried’s coloratura-like effusions.” [889W-{6-8/76} WRR, p. 129]
[890W-{6-8/76} WRR, p. 132]
[P. 132] “Bruennhilde’s appearance is rigidly calm – then her fury breaks out and, in a loud voice for all to hear, she cries: ‘Ha! – Dieser war’s, der mit den Ring entriss: Siegfried der trugvolle Dieb!’ Siegfried, absorbed in thoughts of the past, answers this terrible indictment as if in a dream: ‘Von keinem Weib kam mir der Reif, noch war’s ein Weib, dem ich ihn abgewann!’ (…) The final words of the passage: Wohl kenn’ ich seine Schaerfe, darin so wonnig ruht an der Wand Nothung, der treue Freund, als die Traute sein Herr sich gewann’ in which she voices her seething emotions in tones of biting irony fused with unutterable tenderness, should be veiled: she is referring to a secret known only to Siegfried and herself.” [890W-{6-8/76} WRR, p. 132]
[891W-{6-8/76} WRR, p. 143]
[P. 143] {FEUER} “As Bruennhilde ceremonially strides forward, Hagen picks up his shield from the ground. The scene has the grandeur of antique tragedy; Bruennhilde resembles, as Wagner put it, ‘an ancient German prophetess’. All human passions extinguished, she is now a pure eye of knowledge – and the spirit of love that has taken possession of her, a world-conquering, redeeming love, carries her beyond all fear of death. There is no bitterness in her speech to Gutrune, ‘Armsel’ge schweig’, sein Ehrgemahl warst du nie …’ ‘She regards her as a poor deceived creature.’ “ [891W-{6-8/76} WRR, p. 143]
