compose Tristan und Isolde and Die Meistersinger. In 1869 he returned to Siegfried and Gotterdammerung. By 1874 he was completed and the first production of the entire cycle was held in Bayreuth, Germany in 1876.
             Without a doubt, Richard Wagner transformed the existing myth into something distinctly his own. With his execution, The Nibelungenlied became a vehicle for the fervor of nationalism thriving during that period. Here was a story glorifying German honor and pride, again, at a time in history when nationalism was at its peak. Essentially, Wagner became the voice of a very proud German people. As history and myth alike have proven, pride can be, and usually is a destructive force when taken to extremes. The eighty or so years of German history following this period may be the best example of this the world has ever seen. Before discussing the myth and the operas, let us examine the reasons behind this unprecedented work. Why did Wagner feel the need to elaborate on the Saga? What did he hope to achieve? Where did it all begin. . . .
             Like many artists, Wagner was greatly influenced by Mythology. The majority of his other works were based, at least in part, on famous legends. Der Fliegende Hollander ( The Flying Dutchman) is based on the Norse myth concerning the doomed ship and its crew, destined to sail endlessly never to find a port to call home. Tristan und Isolde (Tristan and Isolde) is the tale of the hero Tristan and the beautiful Queen Isolde, united by a magic potion in a passion that defies all legal and moral sanctions. It is considered one of the greatest love stories ever written. Parsival (Parsifal) is probably one of the least famous Wagnerian operas, but is derived from one of the more famous stories; the quest for the Holy Grail.
             The idea for the tentative Young Siegfried actually came from another opera on which Wagner had previously begun work. In October of 1846, the composer starte...