Schade das die Frau stirbt am ende,sonst sehr zu empfehlen. Immer nachts Filme ankucken in ARD und bigboxwatch.com habe ich dieser Film auch entdeckt. Rheingold. Art: Spielfilm Produktion: BRD Regie: Niklaus Schilling Farbe Laufzeit: 88' (andere Angabe: 91'). Rheingold. Gesichter eines Flusses. Teilen. Film von Peter Bardehle und Lena Leonhardt. Rhein in Köln. Der Rhein Quelle: dpa/ Peter Popp. Der Rhein ist das.
Rheingold – Gesichter eines FlussesRheingold ein Film von Niklaus Schilling mit Rüdiger Kirschstein, Gunther Malzacher. Inhaltsangabe: Elisabeth (Elke Haltaufderheide) reist im. Rheingold. Art: Spielfilm Produktion: BRD Regie: Niklaus Schilling Farbe Laufzeit: 88' (andere Angabe: 91'). Rheingold ist ein deutscher Spielfilm von Niklaus Schilling aus dem Jahr Die Hauptrollen sind mit Elke Haltaufderheide, Rüdiger Kirschstein und Gunther.
Rheingold Film Navigationsmenü VideoWagner: Das Rheingold
Wotan, horrified, realizes that Alberich's curse has terrible power. Donner summons a thunderstorm to clear the air, after which Froh creates a rainbow bridge that stretches to the gate of the castle.
Wotan leads the gods across the bridge to the castle, which he names Valhalla. Loge does not follow; he says in an aside that he is tempted to destroy the treacherous gods by fire — he will think it over.
Far below, the Rhine maidens mourn the loss of their gold and condemn the gods as false and cowardly. Because Wagner developed his Ring scheme in reverse chronological order, the "poem" libretto for Das Rheingold was the last of the four to be written.
He finished his prose plan for the work in March , and on 15 September began writing the full libretto, which he completed on 3 November.
Of the principal sources that Wagner used in creating the Ring cycle, the Scandinavian Eddas — the Poetic Edda and the Prose Edda — provided most of the material for Das Rheingold.
These are poems and texts from 12th and 13th-century Iceland, which relate the doings of various Norse gods. Among these stories, a magic ring and a hoard of gold held by the dwarf Andvari Wagner's Alberich are stolen by the gods Odin Wotan and Loki Loge and used to redeem a debt to two brothers.
One of these, Fafnir, kills his brother and turns himself into a dragon to guard the gold. A few Rhinegold characters originate from outside the Eddas.
Mime appears in the Thidriks saga , as a human smith rather than as an enslaved Nibelung. Wagner may also have been influenced by the Rhine-based German legend of Lorelei , who lures fishermen on to the rocks by her singing, and by the Greek Hesperides myth in which three maidens guard a golden treasure.
Robert Jacobs, in his biography of the composer, observes that the "Nibelung Myth" on which Wagner based his entire Ring story was "very much a personal creation", the result of Wagner's "brilliant manipulation" of his sources.
Holman, in his "Listener's Guide and Concordance" , cites the Alberich character as typifying Wagner's ability to "consolidate selected aspects from diverse stories to create Wagner originally conceived the first scene of Das Rheingold as a prologue to the three scenes that follow it.
As such, the structure replicates that of Götterdämmerung , and also that of the full Ring cycle. As early as , in his novella "A Pilgrimage to Beethoven", Wagner had anticipated a form of lyric drama in which the standard operatic divisions would disappear.
In the new kind of musical drama, he wrote, the traditional operatic norms of chorus, arias and vocal numbers would have no part.
Holman counts 42,  while Roger Scruton , in his philosophical analysis of the Ring , numbers them at Apart from some early sketches in , relating to Siegfried's Death , Wagner composed the Ring music in its proper sequence.
According to his memoirs, Wagner's first inspiration for the music came to him in a half-dream, on 4 September , while he was in Spezia in Italy.
He records a feeling of "sinking in swiftly flowing water. The rushing sound formed itself in my brain into a musical sound, the chord of E flat major, which continually re-echoed in broken forms I at once recognised that the orchestral overture to the Rheingold, which must long have lain latent within me, though it had been unable to find definite form, had at last been revealed to me".
After an extended tour, Wagner was back in Zürich by late October and began writing down the Rheingold music on 1 November.
He finished the first draft in mid-January , and by the end of May had completed the full orchestral score. At that point, in , he set Siegfried aside in order to work on Tristan und Isolde , and did not return to the Ring project for 12 years.
Long before Das Rheingold was ready for performance, Wagner conducted excerpts of the music from Scenes 1, 2 and 4, at a concert in Vienna on 26 December Wagner wanted to wait until the cycle was completed, when he would stage the work himself; also, his return to Munich would likely have precipitated a scandal, in view of his, at the time, affair with the married Cosima von Bülow.
Ludwig was unmoved; he denounced Wagner, sacked Richter, appointed another conductor, Franz Wüllner , and rescheduled the premiere for 22 September.
Wagner was refused admission to the rehearsals at the theatre, and returned, angry and defeated, to his home in Triebschen.
Accounts differ as to the success or otherwise of the Munich premiere. Osborne maintains that the performance was successful,  as does Holman,  [n 2] while Oliver Hilmes in his biography of Cosima describes it as "an artistic disaster".
In , with the Bayreuth Festspielhaus built, Wagner was ready to stage the first Bayreuth Festival with his own production of the now complete Ring cycle, beginning with a performance of Das Rheingold on 13 August.
This event was preceded by months of preparation in which Wagner was deeply engaged; according to witnesses, he was "director, producer, coach, conductor, singer, actor, stage manager, stage hand and prompter".
The 13 August premiere was an event of international importance, and attracted a distinguished audience which included Kaiser Wilhelm I , Emperor Pedro II of Brazil and numerous representatives of the various European royal houses.
The huge influx of visitors overwhelmed the resources of the modest-sized town and caused considerable discomfort to some of the most distinguished of the guests; Tchaikovsky later described his sojourn at Bayreuth as a "struggle for existence".
Despite the careful preparation, the first Bayreuth performance of Das Rheingold was punctuated by several mishaps.
Some scene changes were mishandled; at one point a backdrop was prematurely lifted to reveal a number of stagehands and stage machinery; early in Scene 4 Betz, as Wotan, mislaid the ring and had to go backstage to look for it;   the gas lighting failed repeatedly, plunging the auditorium into darkness.
After the festival, Das Rheingold was not seen again at Bayreuth for 20 years, until Cosima revived the Ring cycle for the festival.
In Budapest on 26 January , the first Hungarian performance of Das Rheingold , conducted by the young Gustav Mahler , was briefly interrupted when the prompt-box caught fire and a number of patrons fled the theatre.
The American premiere of Das Rheingold was given by the New York Metropolitan Opera in January , as a single opera, with Seidl conducting. The production used Carl Emil Doepler 's original Bayreuth costume designs, and scenery was imported from Germany.
After the revival, Das Rheingold was being performed regularly at the Bayreuth Festival, although not every year, within a variety of Ring productions.
With few exceptions, this generally conservative, even reverential approach — which extended to all Wagner's operas — tended to be mirrored in performances outside Bayreuth.
The Bayreuth Festival, suspended after the Second World War, resumed in under Wieland Wagner , Siegfried's son, who introduced his first Ring cycle in the "New Bayreuth" style.
This was the antithesis of all that had been seen at Bayreuth before, as scenery, costumes and traditional gestures were abandoned and replaced by a bare disc, with evocative lighting effects to signify changes of scene or mood.
The iconoclastic centenary Ring was followed by numerous original interpretations, at Bayreuth and elsewhere, in the late 20th and early 21st centuries.
The festival opened with Harry Kupfer 's grim interpretation of Das Rheingold , in which Wotan and the other gods were represented as gangsters in mafioso sunglasses.
This entire Ring , says Spotts, was "a parable of how the power-hungry cheat, lie, bully, terrorise and kill to get what they want".
Edward Rothstein, writing in The New York Times , found the production "a puzzle From the late s a backlash against the tendency towards ever more outlandish interpretations of the Ring cycle led to several new productions in the more traditional manner.
Das Rheingold was Wagner's first attempt to write dramatic music in accordance with the principles he had enunciated in Opera and Drama , hence the general absence in the score of conventional operatic "numbers" in the form of arias, ensembles and choruses.
The "Rhine" motif emerges, representing what Osborne describes as "the calm, majestic course of the river's character  The composer Robert Erickson describes the prelude as drone music — "the only well-known drone piece in the concert repertory".
Confusion arises because this same motif is used later in the Ring cycle to represent affirmation rather than rejection of love;  Scruton suggests the motif would be more appropriately labelled "existential choice".
During the first entr'acte, the Ring motif is transformed into the multipart and oft-reiterated "Valhalla" music — four intertwined motifs which represent the majesty of the gods and the extent of Wotan's power.
This duologue is characterised by Fricka's "Love's longing" motif, in which she sighs for a home that will satisfy Wotan and halt his infidelities.
After Wotan seizes the ring from the captive Alberich, the dwarf's agonised, self-pitying monologue "Am I now free? This lament sounds in the unconsciousness of us all, as we pursue our paths to personality, sovereignty and freedom Das Rheingold is scored for the following instrumental forces: .
Although it is sometimes performed independently, Das Rheingold is not generally considered outside the structure of the Ring cycle.
However, as Millington points out, it is a substantial work in its own right, and has several characteristics not shared by the other works in the tetralogy.
The action moves forward relatively swiftly, unencumbered, as Arnold Whittall observes, by the "retarding explanations" — pauses in the action to clarify the context of what is going on — that permeate the later, much longer works.
Its lack of the conventional operatic devices arias, choruses, ensembles further enable the story to progress briskly. Since it was written as a prelude to the main events, Das Rheingold is in itself inconclusive, leaving numerous loose ends to be picked up later; its function, as Jacobs says, is "to expound, not to draw conclusions".
Live performances of Das Rheingold from Bayreuth and elsewhere were recorded from onwards, but were not issued for many years.
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Show HTML View more styles. Photos Add Image. Edit Cast Cast overview, first billed only: Elke Haltaufderheide Elisabeth Drossbach Rüdiger Kirschstein Wolfgang Friedrichs Gunther Malzacher Karl-Heinz Drossbach Alice Treff Mutter Reinfried Keilich Erfinder Alfred Baarovy Astrologe Petra Maria Grühn Junge Frau Franz Zimmermann Enkelin Claudia Butenuth Edit Storyline A mature, rich and bored woman called Elisabeth is taking a ride with the "Rheingold", a first-class high-speed train of the seventies along the river Rhine.
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