Mythological Adaptation in the Libretti of Richard Wagner’s Die Walküre and August Bournonville’s Valkyrien Settings

Abstract

The concept of Germanic myths as a predominant fixture solely of German culture is an erroneous attribution that is invalidated by their deep roots in Nordic lore. In the early nineteenth century, notions of patriotism and cultural nationalism pivoted on a nostalgia for the glorious past in both Germany and Denmark. In northern Europe, mythology became a conduit for metaphorical expression that aimed to unify and embolden local societies through literary representations that were projected as virtuous embodiments of their nation’s spirit. German composer Richard Wagner and Danish ballet master August Bournonville sought to harness these sentiments of their contemporary times through, among other ways, their shared adaptation of literature surrounding the mythical Valkyries. Both artists created stage works around the same time that were titled The Valkyrie—Wagner an opera, Bournonville a ballet. This study analyses an overlapping yet varying treatment of mythological themes, as seen in the libretti that Wagner and Bournonville wrote for their Valkyrie stage works. This juxtaposition reveals a contrast of psychological and moral character depictions, and demonstrates a comparable cultural preoccupation between Germany and Denmark that stands as a testament to the cultural heritages of both countries.