The Ring and the Fire
Author:
Clyde Robert Bulla
Content:
Volsunga Saga
Illustrator:
Clare Romano Ross, John Ross
Publication:
1962 by Thomas Y. Crowell Company
Genre:
Fiction, Music, Mythology
Pages:
135
Current state:
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Book Guide
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The opera cycle, The Ring of the Nibelung, by Richard Wagner, stands as one of the great achievements in the history of music.
Wagner based his Ring cycle on tales from Norse and German mythology. He studied ancient legends of gods, half gods, and earthly beings and he spent years writing and shaping his material. The Result was an exciting and monumental story, heroic and exalted, told through impassioned and stirring music.
In this book Clyde Robert Bulla tells the stories that make up The Ring of the Nibelung cycle: The Rhinegold, The Valkyrie, Siegfried, The Dusk of the Gods. The stories are magical and mysterious—larger than life, yet based on the human emotions that motivate life. Mr. Bulla is a skilled storyteller and, in his hands, Wagner's great tale of love and hate, greed and goodness, come to life simply, yet dramatically.
Mr. Bulla includes musical themes from the four operas and tells the story of Wagner's life and of his struggles to break with the tradition of the time and create a new form of opera, the "music drama."
Readers who love legend and mythology, and readers who delight in Wagner's music, will welcome the clarity and simple beauty of Clyde Robert Bulla's words as he unfolds these powerful stories of gods and people.
From the dust jacket
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Reviews
The Ring and the Fire
Reviewed by Diane Pendergraft
Bulla’s book is a retelling of Richard Wagner’s opera, The Ring of the Nibelung. In the Introduction on Wagner’s life and the history of the opera, Bulla tells us:
Wagner based his Ring of the Nibelung on tales of Norse and German mythology. Some of the stories appeared more than a thousand years ago in the Edda, a collection of Norse legends. Others were collected in the Nibelungenlied, an epic poem of the twelfth century . . . Wagner planned The Ring as a cycle of three operas and a prelude, to be given on four successive evenings. The prelude, as he called The Rhinegold, was meant to be performed without pause, although in today’s productions it is sometimes divided into four separate scenes.
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