The Cambridge Companion to Wagner's Der Ring des Nibelungen

Abstract

Introduction m a r k b e r r y a n d n i c h o l a s v a z s o n y i Concept of the Companion; Or, How to Use This VolumeThis book is intended for a broad range of readers: for those entirely new to Richard Wagner's monumental Der Ring des Nibelungen; for those who know it well; for those who have heard (possibly seen) a little or all of it and who would like to explore it further; and for all shades of difference in between. The Introduction attempts to provide as thorough an overview to the work and its creator as possible within the space allowed. Much of this is quite brief and necessarily superficial, but it nevertheless should serve to orient the reader. Especially for newcomers, therefore, we highly recommend that you read the whole Introduction first.The chapters that follow go into greater detail about their given topics. For those chapters, the Introduction serves to set out the background knowledge assumed by the authors or to address aspects not covered. Of course, not every aspect of the Ring and its history is addressed by the chapters, and, in some of those cases, the Introduction is there to provide some coverage and guide the reader to further sources. The editors have highlighted connections between the individual chapters by pointing to other sections of the book where a certain idea, made in passing in one place, is elaborated more fully or, perhaps, considered from a different angle. Therefore, each chapter provides an entry point into the book.The Ring opens vistas into a multitude of different historical, social, cultural, political, and philosophical domains, and so it will not be solely the student of music or even theater history who might find this book of interest. Wagner's Ring continues to draw and inspire devotees from all walks of life, and the editors hope that this volume will likewise have something to say to a diverse readership, young and old, novices and aficionados, amateurs and professionals, students and scholars from a broad range of fields, listeners, readers, performers, and spectators alike.Whilst it is, of course, always advantageous when dealing with Wagner to have some familiarity with German, no knowledge of the [1]