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Sieglinde :

The person is extremely complex and evolving throughout the opera. Several directors show her old, grey, as if worn out by suffering and tarnished by the conjugal life without love. But this is contradicted by music. The first theme is interlaced with that of Siegmund and results in that of Freia. Inverted, it is curiously close to that of the Ring and the curse: two progressive successions of rising tierces falling slowly. One also names it the theme of condolence.

Freia's theme is represented only by its second section said often " flight motive " and serving as onset in the theme of love. The other theme associated to Sieglinde: a Dionysian fanfare expressing a revolt and a sexual desire repressed for a long time. Finally a ceaselessly repeated sinuous motive accompanies the touch of the body of her bridegroom brother: it expresses seduction, but also a sort of plaintive and obsessional desire.

It is rather close to the one that characterizes Hagen's manipulation, his desire to seduce and to persuade. Sieglinde's character is a paradoxical combination of a plaintive and a little passive sweetness and explosions of vitality and passion. One notices the brutality of these changes of humor in the last scene of "Walküre". She passes immediately from a suicidal dejection to a wild ecstasy as soon as she learns that she carries a child. We must take good note of the energy of this weak woman. It is she who continuously leads the party. She is the unconscious instrument of Wotan's project. She welcomes the hero, shows him the sword, pushes him to the incestuous union, incites him in her vengeance, and pulls him in the battlefield where he will die.

It is she who recognizes her brother, but she will tell him the truth only when the point of no return is crossed.

Like Erda and Brünnhilde, Sieglinde is clairvoyant. She sees her brother torn by the pack. Same as for Siegmund, her existence is placed entirely under the sign of the misfortune, and same again as for him it is the poignant will to fight, to strive towards happiness.

The incestuous couple was strikingly represented by Beckmann. It disturbs us profoundly by the extraordinary variety of contradictory feelings which it arouses: eroticism, pity, tenderness, light condemnation also tinged with admiration, solidarity, aversion, feeling of a failure and certain fault in this love relation.

In my opinion, aversion and illness do not result from incest. After all, the healthier relationship between Brünnhilde and Siegfried is not less incestuous. The mental and emotional consanguinity is really what shocks more than the physical consanguinity (the same voice, the same glance). During the duet of love, very strange if one thinks of it, each one of them recognizes his reflection in the other. The love relation is almost narcissistic and is placed under the sign of blood. The last words of the duet of love are "Wälsungen-Blut ". On this word Blood, the theme of the misfortune falls like an axe.

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