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Wotan, horrified, realizes that Alberich's curse has terrible power.ДЄs early as 1840, in his novella 'A Pilgrimage to Beethoven', Wagner had anticipated a form of lyric drama in which the standard operatic divisions would disappear. The giants release Freia and begin dividing the treasure, but they quarrel over the ring itself. Troubled, Wotan calls the giants back and surrenders the ring. As the giants seize Freia and start to leave, Erda, the earth goddess, appears and warns Wotan of impending doom, urging him to give up the cursed ring. Loge protests that the ring belongs to the Rheinmaidens, and Wotan angrily declares that he intends to keep it for his own. Loge says that there is no more gold, but Fafner, who has noticed the ring on Wotan's finger, demands that Wotan add it to the pile, to block the crack. However, Fasolt spots a remaining crack in the gold, through which one of Freia's eyes can be seen. Wotan is forced to relinquish the Tarnhelm, to help cover Freia completely. Fasolt, reluctant to release her, insists that the gold be piled high enough to hide her from view. 'At a specially-appointed Festival, I propose, some future time, to produce those three Dramas with their Prelude, in the course of three days and a fore-evening'. Each of these dramas would, he said, constitute an independent whole, but would not be performed separately. In 1851 he outlined his purpose in his essay 'A Communication to My Friends': 'I propose to produce my myth in three complete dramas, preceded by a lengthy Prelude (Vorspiel)'.

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After his flight from Dresden and relocation in Switzerland, he continued to develop and expand his Siegfried project, having decided meantime that a single work would not suffice for his purposes in his enlarged concept, Siegfried's Death would be the culmination of a series of musical dramas incorporating a network of myths from his sources and imagination, each telling a stage of the story.

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In October of that year he prepared a prose outline for Siegfried's Death, which during the following months he developed into a full libretto. Having completed his opera Lohengrin in April 1848, Richard Wagner chose as his next subject Siegfried, the legendary hero of Germanic myth.

Valhalla shimmer monologue