Ring Leitmotifs
Most Ring leitmotifs are presented in the first two parts of the cycle.
An asterisk indicates a major leitmotif.
DAS RHEINGOLD
The beginning of the world and development of the universe from the primal nothingness.
A continuation of the Genesis motif with the gaps filled. It is part of the revival music at the beginning of Gotterdammerung.
Carefree, innocent, amoral, capricious. It appears at the end of Gotterdammerung when the maidens burst their banks to extinguish the conflagration.
Mime, a pitiable, wretched Nibelheim dwarf, and Alberich hopping when he turns himself into a toad.
The villain of the Cycle.
The motif does not appear on its own very much but very many motifs refer to it to evoke pain or woe.
A fanfare because the gold is always the centre of attention.
This bright exclamation proclaims the Rhinemaidens’ delight and joy in the gold they are charged with guarding. In the background can be heard the Rhine wave motif.
The fast-flowing river Rhine.
The renunciation or cursing of love (usually for the sake of power or riches). Alberich, Wotan and Siegmund all fall prey to it.
12a Valhalla (first segment) *
There are three segments to the Valhalla motif representing the god’s palace.
12b Valhalla (middle segment) *
12c Valhalla (final segment) *
Wotan has no motif but his spear, hewn from a branch of the world ash tree, symbolises his power and the power of the Gods.
Fricka must enchant her husband Wotan to retain him.
Freia is the goddess of love. She is pursued by the Giants.
The twins elope.
Fafner and Fasolt.
The second segment of the Spear motif. Fasolt the giant reminds Wotan that he must honour their agreement.
A restrained version of the Spear. Its politeness represents Wotan’s cordial business dealings.
Freia tends the apples in her garden which give the gods eternal youth.
Brother god to Freia and protective of her. Froh is courageous and bold.
Loge, god of fire, is the most cunning of the immortals. Most of the other gods distrust him, but he alone senses the folly and danger posed by Valhalla. He is the only one who is able to get them out of their problems.
Like fire itself, the motif is chaotic and uncontrollable.
Events which transgress against love. It is similar to the Renunciation of Love motif.
This is a slowed-down version of the Rhine Wave motif.
Nibelheim is the Dwarves’ underground city where dangerous things are made.
A magical helmet gets its power from the Ring, and only the owner of the Ring can use it.
It allows the wearer to take on any shape and to teleport.
The woe or grief inflicted by Alberich upon his fellow dwarves.
A cruel mutation of the Rhinegold motif. It reminds us that the Ring’s power hangs over all events.
The Nibelung hoard of treasure.
The Ring makes its owner arrogant; the gods were arrogant to build Valhalla, putting the whole of creation at risk.
Including Alberich’s hatred of Wotan. It is derived from the curse motif of Wagner’s earlier opera, Tannhäuser.
Alberich lays a curse on the ring.
A minor version of the first Nature motif. Erda is a primordial immortal with the ability to tell the future. She is the wisest of all beings.
The downfall of the gods.
Donner is the god of thunder.
This glittering motif is only heard once, at the end of Das Rheingold.
Nothung is Wotan’s enchanted sword, given to Siegmund, shattered by Wotan, reforged by Siegfried and used to slay the dragon Fafner. This motif is first heard before the sword is even made. It foretells Wotan’s plan to leave it stuck in a tree for Siegmund to find in his hour of need.
Wotan’s vision for the sword, Nothung.
They lost the gold.
DIE WALKÜRE
Opening of Die Walküre: Siegmund’s flight for his life.
Siegmund, son of Wotan and a mortal woman. His motif is derived from Wotan’s Spear but it is more gentle and kind because Siegmund does not have godly power.
Sieglinde, Siegmund’s twin sister, was separated from him at birth. Their motifs are intertwined; they become lovers.
Siegmund requests from Sieglinde a drink which gives him strength. Their love is growing.
Love blossoms between the twins.
A sadness hangs over the Walsung race: the twins separated, their mother dead, their father missing, Siegmund hounded by woe and Sieglinde stuck in an woeful marriage with Hunding.
Sieglinde’s vile husband.
The obligatory welcome Hunding gives to Siegmund. Hunding grudgingly says “Heilig ist mein Herd: heilig sei dir mein Haus!” (“Sacred is my hearth: may my house be sacred to you!”). It is later used by Wotan.
48 Wehwalt * (Woe)
Siegmund does not know who he is and has named himself “Woe”. It is heard at Siegfried’s funeral march.
Siegmund and Sieglinde are from the Walsung race.
Siegmund’s joy at finding his name, his sister and his love. He likens this to the ending of winter by spring.
Sieglinde’s joy at having found love with Siegmund.
The magic sword Nothung (Needful). Siegmund has been promised that Nothung would come to him in his hour of need. The sword is embedded in the tree growing through the house of Sieglinde and Hunding.
The Valkyries ride onto the battlefield to collect the souls of dead heroes to take back to Valhalla as Wotan’s personal body guard.
Although the motif is officially presented in Die Walküre, the closing bars of Das Rheingold have an unmistakable resemblance to this motif, perhaps foreshadowing what will come next.
They call one another and express a joie de vivre.
Fricka, goddess of marriage, is angry with the twins Siegmund and Sieglinde. Their union is a crime against her. She tells Wotan that Siegmund must die.
Events do not go as Wotan planned. Despite his power, he is forced to do things he doesn’t want to do: kill his beloved son Siegmund, say goodbye to his favourite daughter Brunnhilde.
This combines three motifs: Erda, Gotterdammerung and Wotan’s frustration. Erda first alerted Wotan to the forthcoming danger: Gotterdammerung (Twilight of the Gods) is that danger and Wotan cannot prevent it.
Wotan’s dismay at organising the death of his son, Siegmund. It is used in Siegfried when Brunnhilde loses her divinity and her mind is dulled.
This motif is an inversion of the Spear motif.
Wotan’s rage against Brunnhilde when she tried to save Siegmund and when he finds her on the rock.
Fate is one of the most prolific themes in the cycle. Everything is predetermined and the characters on stage cannot change the course of events.
The tune is similar to the Dragon motif.
The calamity when Siegmund is killed and in Siegfried’s Funeral March.
This is formed from two motifs: Curse and Fate.
An inversion of the Spear motif, it predicts the downfall of the gods.
Associated with the Valkyries and Wotan rides to seek council with Erda (in Siegfried).
Siegfried is the son of Sieglinde and Siegmund and grandson of Wotan. He is the hero who will save the world. He will destroy the curse of the Ring so it is a major version of the curse motif.
A soaring statement of love is heard only twice in the cycle when (a) Brunnhilde tells Sieglinde that she is pregnant (b) Brunhilde rides into Siegfried’s funeral flames with the Ring, cleansing it of the Curse.
Brunhilde reproaches her father Wotan. The motif contains part of the Spear motif and is an inversion of Wotan’s Frustration.
68 Sanctuary or Sleeping Brunnhilde *
Wotan protects Brunhilde with a magic circle of fire.
Brunhilde pleads with Wotan and his deep love returns.
Brunhilde asleep on a rock and riding into Siegfried’s funeral pyre.