The musical secrets of Wagner's Die Walküre

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Répétiteur Susanna Stranders explores Richard Wagner's epic score in Die Walküre, including the memorable Ride of the Valkyries.
Tackling Wagner’s Ring Cycle can seem a daunting task for an orchestra. Complicated storylines, huge casts and outrageous running times are often enough to put off all but the most committed Wagnerian. Susanna discusses the music that brings the power to the extraordinary world of Wagner's Ring Cycle.
Die Walküre is the second work of Richard Wagner’s four-opera cycle Der Ring des Nibelungen, following Das Rheingold. It has become the most performed opera of the cycle, loved and admired for its nuanced and intelligent exploration of complex family entanglements, expressed through music of astonishing power - perhaps nowhere more so than in the glorious music for the incestuous lovers Siegmund and Sieglinde.
Wotan’s voyage of self-discovery and ultimate resignation are at the heart of Keith Warner’s production, created for The Royal Opera in 2005. Wotan’s great Act II monologue is set in the abandoned former home of the gods, seen in Das Rheingold, whose evident disorder and damage present a striking representation of Wotan’s own inner decline and the gods’ incipient twilight. Recurring objects and visual motifs reflect the use of musical themes within Wagner’s score, which shows the composer at his most radical and most lyrical.

[@Zelomeisterdude]

Please, more videos of Susanna Stranders explaining stuff!

[@iancole3321]

Susanna Stranders' short inclusion in this evening's cinema showing of Die Walkure added so much to the overall enjoyment. Thank you to her.

[@felix4645]

Absolutely brilliant analysis! Love the intricacy and detail of this piece.

[@WforWrath]

amazing. wish this was 15 hours

[@therichyalf]

I learned so much from this analysis. I hope this is expanded to help explain other great composers.

[@JWP452]

Susanna Stranders!

[@arsgoetia-equipstravelsworld]

Excelent explanation!

[@wotan10950]

I bought the Schirmer score in order to have some fun and sing the various roles!! I noticed straight off that Wagner changes key signatures and rhythms very often, sometimes within one aria or narrative. I can only guess that he wanted the characters to appear as if they’re having a conversation, rather than singing a metronomic aria. It certainly keeps you on your toes! (PS, I am not a professional singer, but I’m a fair amateur)

[@Wolfsky9]

The man was a genius; this woman does a great job of bringing fown to earth. ------------------------WolfSky9, 72 y/o

[@dougr.2398]

Can you explain the string “divisi” in a bit more detail? Or should I be looking at the score to really understand it? Please provide a link, if possible?

[@ci7446]

suzy the female pappano

[@itsaph1ra]

Star piano player (ᵒ̤̑ ₀̑ ᵒ̤̑)

[@mathildewesendonck7225]

Thank you for this introduction!!
I still think that this is one of Wagner’s rather mediocre compositions, I don’t know how it became so famous.

[@steveneliscu1901]

"The triumph of the feminine." I guess everyone has their own agenda.

[@cosminrentea]

Well, if you listen to the last 7 minutes of in Gotterdammerung, you will notice that only then this "feminine compassion" specific motive is played again, after the Siegfried motive, and right before the end of the Ring cycle.