Brünnhilde (Lisa Gasteen) and Wotan (James Morris) at the Met, 2008
BRÜNNHILDE, moved and exalted, sinks on WOTAN's breast: he holds her in a long embrace. She throws her head back again and, still embracing WOTAN, gazes with solemn rapture in his eyes.
WOTAN: These eyes so warm and bright,
which, smiling, often I kissed,
when courage
I acclaimed with kisses,
while childish prattle
in heroes' praise
was heard to pour from your lips:
yes, these gleaming, radiant eyes,
which shone so bright in the storm,
whn hopeless yearning
consumed my spirit,
and worldly pleasures
wee all I longed for,
when fear fastened upon me --
their glorious fire
gladdens me now,
as I take this loving,
last farewell!
On some happy mortal
one day they'll shine:
but I, hapless immortal,
I must lose them forever.
[He clasps her head in his hands.]
And sadly
the god must depart;
one kiss akes our godhead away!
[He presses a long kiss on her eyes. She sinks back with closed eyes, unconscious, in his arms. He gently supports her to a low mossy bank, which is overshadowed by a wide-branching fir tree, and lays her upon it. He looks upon her and closes her helmet; his eye then rests on the form of the sleeper, which he completely covrs with the great steel shield of the Valkyrie. He turns slowly away, then turns round again with a sorrowful look. Then he strides with solemn decision to the middle of the stage, and directs the point of his spear towards a massive rock.]
-- English singing translation by Andrew Porter,
used in the Goodall-English National Opera recording
[in English] Norman Bailey (b), Wotan; English National Opera Orchestra, Reginald Goodall, cond. EMI-Chandos, recorded live, Dec. 18, 20, and 23, 1975
Friedrich Schorr (b), Wotan; Berlin State Opera Orchestra, Leo Blech, cond. EMI, recorded June 17, 1927
George London (b), Wotan; London Symphony Orchestra, Erich Leinsdorf, cond. RCA-Decca, recorded September 1961
Thomas Stewart (b), Wotan; Berlin Philharmonic, Herbert von Karajan, cond. DG, recorded Aug., Sept., and Dec. 1966
John Tomlinson (bs), Wotan; Bayreuth Festival Orchestra, Daniel Barenboim, cond. Teldec, recorded live, June-July 1992
by Ken
As promised in Friday night's preview ("Wotan's Farewell -- feeling the pain"), today we're hearing the whole of Wotan's Farewell, the conclusion of Die Walküre, and we're going to listen to it in the context of the question: Can we feel Wotan's pain even knowing that it's largely self-inflicted?
Above we've heard the "missing" portion -- the central section that follows the opening, which we heard Friday night, and the concluding section that begins with Wotan's call to Loge, the god of fire, which we heard in last week's preview ("To prepare for some serious Bruckner business, we need to consult Wagner's fiery demigod Loge"). Actually, we originally heard the opening and closing orchestral sections attached to the respective opening and closing sections., but I thought it would be nice to hear this central section in full context.
AS TO MY ASSERTION THAT WOTAN'S PAIN IS LARGELY
SELF-INFLICTED, IN THE EVENT THAT IT ISN'T OBVIOUS . . .
. . . and apparently to a lot of people it isn't, I propose to make this case in the form of several Ring citations in a separate post. For a moment, though, all we have to do is go back to the Rheingold excerpts that I originally presented while trying to focus on Loge's role as worldwide superscout ("Ingratitude is always Loge's lot"). You'll recall that the scene in question began with Wotan desperately relieved at the arrival of Loge (finally!) to get him out of the fine mess he's gotten into: He has the giants Fasolt and Fafner in attendance, waiting for their payment for the gigantic task of building Wotan's dream fortress, Valhalla -- namelyl, the Wotan's sister-in-law, the ravishingly beautiful godess Freia.
This contract was engraved on Wotan's spear, the symbol and even source of the god's power, but we also learned that it was a contract he never for the tiniest millisecond had any intention of honoring. In his mind, at least, it was always understood that if and when the time came to make payment, the shrewd Loge would find some way out for him. (You'll recall that Loge recalls the situation somewhat differentlly.) Now if this doesn't bother you, and bother you deeply, I have to ask why. At its very base, Wotan's power is totally corrupt.
Unfortunately for Wotan, this seems fairly representative of his thought and decision-making process at frequent critical junctions in his history, which again we'll explore a bit in that separate post.
I suppose I should probably say something about the peformances. (I think I've included the complete Farewell from all the peformers we've heard so far in the series.) Friedrich Schorr is taxed by the role's extreme demands but otherwise remains the class of Wotans, and really comes into his own in the central section we've heard first today. Norman Bailey has been doing stalwart work for us throughout this series, and again I'm filled with admiration for his ability to accommodate the pacing of both Otto Klemperer and Reginald Goodall. George London and Thomas Stewart (at the time still new to the role) were for obvious reasons, I think, two of the preeminent Wotans of the second half of the 20th century. John Tomlinson isn't quite in that class, but it's interesting to hear a genuine bass in this bass-baritone role. Finally, Albert Dohmen gives it his all, and I don't know that there was a significantly superior alternative at the time of this Bayreuth production, but it's really not quite enough. I know, however, that people always want to hear "current" performances. There is, though, much to enjoy in the conducting of Christian Thielemann. I'm not especially a fan, but here, where there's not much to puzzle out, or mis-puzzle out, he does beautifully.
WAGNER: Die Walküre: Act III conclusion, Wotan's Farewell
part 1
WOTAN, overcome and deeply moved, turns eagerly towards BRÜNNHILDE, raises her from her knees, and gazes with emotion into her eyes.
WOTAN: Farewell, my valiant,
glorious child!
You were the holiest pride of my heart!
Farewell! Farewell! Farewell!
[Very passionately] Though I must leave you,
and may no longer
embrace you in greeting;
though you may no more
ride beside me,
nor bear my mead in Walhall;
though I abandon you
whom I love so,
the laughing delight of my eye:
a bridal fire
shall blaze to protect you,
as never has burned for a bride.
Threatening flames
shall flare from the rock;
the craven will fear it,
cringe from its fury;
the weak will flee
from Brünnhilde's rock!
For one alone wins you as bride,
one freer than I the god.
[BRÜNNHILDE, moved and exalted, sinks on WOTAN's breast: he holds her in a long embrace.]
part 2
BRÜNNHILDE throws her head back again and, still embracing WOTAN, gazes with solemn rapture in his eyes.
WOTAN: These eyes so warm and bright,
which, smiling, often I kissed,
when courage
I acclaimed with kisses,
while childish prattle
in heroes' praise
was heard to pour from your lips:
yes, these gleaming, radiant eyes,
which shone so bright in the storm,
whn hopeless yearning
consumed my spirit,
and worldly pleasures
wee all I longed for,
when fear fastened upon me --
their glorious fire
gladdens me now,
as I take this loving,
last farewell!
On some happy mortal
one day they'll shine:
but I, hapless immortal,
I must lose them forever.
[He clasps her head in his hands.]
And sadly
the god must depart;
one kiss akes our godhead away!
[He presses a long kiss on her eyes. She sinks back with closed eyes, unconscious, in his arms. He gently supports her to a low mossy bank, which is overshadowed by a wide-branching fir tree, and lays her upon it. He looks upon her and closes her helmet; his eye then rests on the form of the sleeper, which he completely covrs with the great steel shield of the Valkyrie. He turns slowly away, then turns round again with a sorrowful look. Then he strides with solemn decision to the middle of the stage, and directs the point of his spear towards a massive rock.]
part 3
WOTAN turns slowly away, then turns round again with a sorrowful look. Then he strides with solemn decision to the middle of the stage, and directs the point of his spear toward a massive rock.
WOTAN: Loge, hear!
Come at my call!
As when first you were found,
a fiery glow,
asa when you escaped me,
a wandering flicker;
once you were bound:
be so again!
Arise! Come, wavering Loge;
surround the rock, ring it with flame!
[During the following, he strikes the rock three times with his spear.]
Loge! Loge! Appear!
[A flash of flame leaps from the rock, and gradually increases to an ever-brightening fiery glow. Flickering flames break out. Bright, shooting flames surround WOTAN. Wih his spear, he directs the sea of fire to encircle the rocks; it presently spreads toward the background, where it enloses the mountain in flames.]
Only the man
who braves my spear point
can pass through this sea of flame!
[He stretches out the spear as if casting a spell. Then he gazes sorrowfully back at BRÜNNHILDE, turns slowly to depart, and looks back once more before he disappears through the fire. The curtain falls.]
-- English singing translation by Andrew Porter,
used in the Goodall-English National Opera recording
[in English] Norman Bailey (b), Wotan; English National Opera Orchestra, Reginald Goodall, cond. EMI-Chandos, recorded live, Dec. 18, 20, and 23, 1975
Norman Bailey (b), Wotan; New Philharmonia Orchestra, Otto Klemperer, cond. EMI, recorded 1970
Friedrich Schorr (b), Wotan; Berlin State Opera Orchestra, Leo Blech, cond. EMI, recorded June 17, 1927
George London (b), Wotan; London Symphony Orchestra, Erich Leinsdorf, cond. RCA-Decca, recorded September 1961
Thomas Stewart (b), Wotan; Berlin Philharmonic, Herbert von Karajan, cond. DG, recorded Aug., Sept., and Dec. 1966
John Tomlinson (bs), Wotan; Bayreuth Festival Orchestra, Daniel Barenboim, cond. Teldec, recorded live, June-July 1992
Albert Dohmen (b), Wotan; Bayreuth Festival Orchestra, Christian Thielemann, cond. Opus Arte, recorded live, July-Aug. 2008
UPDATE: THE DISCUSSION CONTINUES NEXT WEEK --
with the preview, "Brünnhilde asks, 'Who am I if I were not your will?' Question: Is it ever OK for a daughter to say such a thing to her father?," and main post, ""Up to now I have done nothing even approaching it" (Richard Wagner on Act I of Die Walküre)."
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