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《尼伯龍根的指環》由四部歌劇組成,亦被華格納稱為“舞台節慶典三日劇及前夕”,包括:
PS:
劇情是圍繞著萊茵河底的黃金展開的:
《萊茵的黃金》
序曲音樂把人們帶到萊茵河底,三位看護萊茵河黃金的少女挑逗著代表邪惡的尼伯龍根家族的侏儒,當侏儒知道隻要發誓永遠拋棄愛情就可得到黃金,戴上用黃金打造成的指環就可統治世界後,侏儒便發出毒誓偷走黃金。唉,看來自古財富、權勢就是不安定因素啊。
水下不安定,天上也不太平。眾神之王沃坦讓巨人們蓋起沃爾哈拉神殿,酬勞是把自己的小姨子許配給巨人。麵對猙獰粗野的巨人,沃坦的妻子和小姨子堅決不肯就範,這使得沃坦麵臨違約的信用危機(看來契約精神是人神共用的)。無奈中,一位部下出頭與巨人談判:用萊茵的黃金來替換女人,這可讓又貪財又貪色的巨人們猶豫了。
沃坦從侏儒那裏連騙帶搶得到了黃金和指環,侏儒在絕望中發出得到指環的人必會死亡的詛咒。貪財的巨人們剛剛得到黃金和指環便發生內訌自相殘殺,詛咒開始應驗。
從此,代表財富的黃金和代表權勢的指環,就在天界、人間、水下演繹出驚天動地的大悲劇。
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《女武神》
開場便是一連串的巧遇。沃坦遺留在人間的兒子齊格蒙德到一處人家借宿,在女主人齊格琳德的幫助下得到沃坦特意留給他的諾頓劍(這把神劍現在好像進化成殺毒軟件了)。更巧的事還在後麵:經過攀談,齊格蒙德與齊格琳德竟是失散多年的孿生兄妹。麻煩的是兩人深深相愛,“冬日寒風已消逝”,“隻有你才是可愛的春天”,一首熱情浪漫的愛情二重唱,他們已是無法分開——愛情的力量太大了,齊格蒙德決定與山賊出身的妹夫洪丁決鬥。
這事引起沃坦妻子的不滿,身兼後媽和婚約女神雙重身份的她積極要挾沃坦懲罰這對兄妹。而沃坦(這眾神之王可真能折騰)和智慧女神所生的女兒布倫希爾德卻被熾熱的愛情所感動,決定救助這對同父異母的兄妹愛人。
可惜,善良的布倫希爾德沒能救下齊格蒙德,在決鬥的關鍵時刻,怕老婆的沃坦親自擊斷了齊格蒙德的諾頓劍,齊格蒙德被自己的生父害死了。
幕間,樂隊奏起氣勢磅礴的間奏曲《女武神的騎行》,這是一段讓人熱血沸騰的音樂。(音樂太精彩了,以至於好萊塢的大導演科波拉把它原封不動地搬到影片《現代啟示錄》中,隻不過天上飛行的不是女武神,而是武裝直升機)。
布倫希爾德把被擊斷的諾頓劍交給同齊格蒙德相愛已懷有身孕的齊格琳德,囑咐她鑄造成新劍並交給齊格蒙德的後代,為這位後代起名齊格弗裏德,並預言這位後代一定是英雄。悲痛欲絕的齊格琳德唱出不盡的悲傷與感激,那一段驚天地泣鬼神的女高音,讓每一位聽眾都隨著潸然淚下。
為了懲罰布倫希爾德擅自救援的行為,沃坦將布倫希爾德流放到人間的一座荒山之頂,並用熊熊大火封鎖住。隻有勇敢無畏的英雄才能衝過烈焰喚醒她,而這個人將成為她的丈夫。
都說人間多有悲歡離合,哪知神界也是苦不堪言呀。
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《齊格弗裏德》
齊格弗裏德已成為從來不知畏懼的青年。母親齊格琳德生下他後便已去世,齊格弗裏德被侏儒米梅撫養成人。在這裏,故事又扯到了指環。原來,米梅是那個在萊茵河偷走黃金又被沃坦搶走指環的尼伯龍根侏儒的弟弟,他撫養齊格弗裏德目的是要他成人後殺死占據指環的巨人,替自己搶回指環從而得到財富和權勢。然而,這個卑劣猥瑣的侏儒卻始終得不到齊格弗裏德的尊重。
沃坦化裝成流浪漢來到這裏,告訴米梅隻有齊格弗裏德才能把那把斷劍重新打造成新的諾頓劍,隻有用諾頓劍才能戰勝化成大蛇的巨人,隻有殺死巨人才能得到指環。沃坦暗示米梅也會被齊格弗裏德殺死,米梅則暗自盤算用藥酒毒死齊格弗裏德並占有指環。看看,一扯到指環,立刻殺機四伏!
齊格弗裏德手提親自打造好的諾頓劍去尋找巨人,經過一片森林。樂隊在此時奏出著名的《森林的颯颯細語》,難得的靜寂,優美的境界,可惜隻有片刻。
齊格弗裏德奮力殺死大蛇,當他觸到大蛇的熱血後,忽然能聽懂小鳥的話了。聽著小鳥的指引,齊格弗裏德拿到指環,殺死心懷毒計的米梅,來到布滿烈焰的荒山上,喚醒沉睡的布倫希爾德,英雄和美人沉醉在愛情之中。
有人會問:布倫希爾德應該是齊格弗裏德的姑媽和姨媽,這愛情有些亂吧?
是有些亂。亂就亂吧,聽老輩人講是咱們東方先有的文明,所以就別埋怨人家開化較晚了吧。咱們隻管聽歌劇。
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《諸神的黃昏》
天上,三位命運女神一邊編織命運之繩,一邊議論神界的種種不祥之兆。突然,命運之繩斷了,聽眾的心也隨之一緊:這意味著什麽呢?
場景換到人間,來到萊茵河畔貢特爾的城堡。城堡中的三個人正在商量一件事:貢特爾是城堡的主人,旁邊是她美麗的妹妹古特魯尼。兄妹倆還有一個同母異父的兄弟哈根,事情就將壞在他的身上。原來哈根的父親就是在萊茵河底偷走黃金的那個尼伯龍根侏儒,陰險殘忍的哈根正在設計一個奪取指環的陰謀。
三人迎接到齊格弗裏德,讓他喝下迷魂藥酒。失去記憶的齊格弗裏德迷迷糊糊地愛上了古特魯尼,他與貢特爾歃血盟誓結為兄弟並許諾把帶著指環等他回去的布倫希爾德許給貢特爾,哈根則在靜看陰謀成功,等待奪取指環。
齊格弗裏德從布倫希爾德手上搶回指環,把她交給貢特爾。婚禮上,憤怒的布倫希爾德發誓複仇,並告訴哈根從背後才能殺死齊格弗裏德。
無敵的英雄齊格弗裏德終於死在哈根的陰謀中,伴著著名的《葬禮進行曲》,眾人把當抬回城堡。為了爭奪指環,哈根殺死哥哥貢特爾,迫不及待地去摘取英雄手上的指環,突然,英雄的手臂高高舉起,哈根驚駭的不知所措。
布倫希爾德知道了這一切都源自他的父親——眾神之王沃坦對指環的占有欲望後,命令把齊格弗裏德放到萊茵河邊的柴堆上,點燃熊熊大火,帶著指環騎上戰馬跳進火中,隨英雄而去。
被烈焰淨化的指環重新回到了萊茵河,不顧一切跳進河裏搶奪指環的哈根被滔滔的萊茵河水吞沒,沃坦的沃爾哈拉神殿在大火中轟然坍塌。
經過一係列天上人間的悲劇後,受到詛咒的財富和權勢化成了永恒的虛無。在充滿回憶色彩的音樂中,指環又變成萊茵的黃金,世界又回複到平靜……
Der Ring des Nibelungen (The Ring of the Nibelung) is a cycle of four epic operas or (to use the composer's preferred term) 'dramas' by the German composer Richard Wagner (1813–83). The works are based loosely on characters from the Norse sagas and the Nibelungenlied. The four dramas, which the composer described as a trilogy with a Vorabend ('preliminary evening'), are often referred to as the Ring Cycle, "Wagner's Ring", or simply The Ring.
Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four operas that constitute the Ring cycle are, in the order of the imagined events they portray:
Das Rheingold (The Rhine Gold)
Die Walküre (The Valkyrie)
Siegfried
Götterdämmerung (The Twilight of the Gods)
Although individual operas are performed as works in their own right, Wagner intended them to be a coherent whole, performed in a series.
History provides few examples of artistic purpose so consistently followed as that which produced Wagner's tetralogy Der Ring des Nibelungen. As early as the 1840s, Wagner began to search Teutonic and Norse mythology for material for his epic, and it was not until the end of 1874 that the last bar of Götterdämmerung ("The Twilight of the Gods") was scored. Wagner's first plan was to compose one opera only, to be called Siegfried's Death, and for this he wrote the poem, which follows roughly the same course as that of the present Götterdämmerung, in 1848. It soon became obvious, however, that so much preliminary explanation would be necessary if the events of Siegfried's Death were to be clear to the spectator that some kind of introductory drama was desirable. Thus Wagner planned a second work, to precede Siegfried's Death and to be called Young Siegfried, and then he added two others, so that the project eventually embraced the whole tetralogy of the Ring.
Wagner did not work exclusively on the Ring during the thirty-odd years between its original conception and its completion. The poems of the four operas were written in the late 1840s and early 1850s; the music for Das Rheingold was composed in 1853–54, that for Die Walküre in 1854–56; and in 1856–57 Wagner composed, though he did not score, the first two acts of Siegfried; but at this point he laid down his pen, as far as the Ring was concerned, for twelve years, producing in the meantime Tristan und Isolde and Die Meistersinger von Nürnberg. In 1869, however, he took up work on the Ring again, his enthusiasm and inspiration still strong, and in the years 1869–74 completed Siegfried and created the finale to the tetralogy, Götterdämmerung. Das Rheingold was first performed at Munich on 22 September 1869. Its first performance as part of the complete Ring cycle took place at Bayreuth on 13 August 1876.
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http://www.sinbam.com/classic/o/Wagner_Ring_Nibelungen_wwv86.html