Watching Die Walküre, I noticed how seamlessly Wagner blended the musical and theatrical components of the production. This fluidity came, in part, from the way Wagner’s music complemented the affect of each character’s words. So much so, that if the words of the opera were removed and only the music remained, the audience would likely be able to understand the type of action that was taking place in each scene (tragic, violent, mysterious, etc). For example, at 1:09:34 in Act 2, Scene 1, Wotan defends the love of Siegmund and Sieglinde. As he expresses compassion for his children, the music is soft and the melody is simple. However, the moment before Fricka begins to attack Wotan’s reasoning, we hear an abrupt, staccato sound (1:09:50). When she specifically attacks the couple for breaking a wedding vow at 1:10:03, the music gets louder, darker in mood, and overlaps with Fricka’s words. Wagner seems to very purposefully choose when to make the music louder than the words, and the heightening of the music’s volume when Fricka specifically speaks about marriage vows gives a sense of the tension and betrayal Fricka feels towards Wotan.

Similarly, in Scene 4 of Act 2, in the exchange between Brünnhilde and Siegmund, Wagner utilizes distinct textures and styles of music depending on who is speaking and what they are communicating. For example, at 2:09:14, the music sounds majestic as Brünnhilde tells Siegmund that she will support him in Valhalla. When Siegmund begins speaking at 2:09:47, the music slows down and becomes lower; Siegmund’s words overpower the low music and become the focus of the moment. Right before he asks the dramatic question about whether he will be able to see Sieglinde in Valhalla, there is a pause (2:10:16). This momentary silence clues the audience in on the importance of what Siegmund is about to say. Once he begins to ask whether he will get to see his wife, the music also starts up again. As Siegmund’s voice gets louder, the texture of the music becomes more complex and the music gradually crescendos. Thus, the increase in intensity in the music parallels the drama of Siegmund’s question as it slowly makes its way off of his lips. There is then a drastic shift in musical affect as Brünnhilde replies that Siegmund will not be able to see Sieglinde. While the escalation of the symphony coupled with Siegmund’s question created a sense of hope just moments before, the music now tapers to a much softer, somber melody. The subdued music complements Brünnhilde’s sad reply. In Wagner’s opera, the music thus seems to frame what the characters say, helping to complete and emphasize the character’s emotions through volume and texture changes. The overall effect is that the musical and theatrical components weave together to create a very holistic and fluid production.