1. Listen to the Ride of the Valkyries from the second opera 'Die Walküre' (The Valkyrie). Listen to Wagner's use of strings and think about how he uses the string section in order to create the idea of flight. Try to listen to a version taken from the opera itself and listen to how the vocal parts (the Valkyrie) actually enter. Better still try to find an orchestra copy of the work and think about the enormous forces Wagner employs. What do you notice about the brass section? What kind of voices might be needed to sing above these orchestral forces?

2. Listen to the opening of 'Tristan und Isolde'. Consider the harmonic ideas in just the first few bars, particularly the way Wagner resolves the famous 'Tristan' chord. Listen also to the beginning of Act III of 'Tristan' and in particular to the cor anglais solo indicating the shepherd boy. What key do you think this is in? Play the extract and consider its tonality and its possible atonal qualities.

3. Listen to Siegfried's Rhine Journey (from 'Siegfried') by Wagner and compare this to the river journey in the Tone Poem "Vltava" by Smetana. What differences in style can you note, considering that these composers were both so-called 'Nationalists'? Listen also to Verdi's Requiem (on the programme extract) and consider a comparison with the work of Wagner.

4. Listen to the opening of the first opera 'Das Rheingold'. What do you notice about the tonality of the piece? Listen to it again and consider how the composer manages to sustain interest for almost 135 bars.

5. Try to listen to other operas by Wagner. 'The Mastersingers of Nurenburg' is considered by many to be one of his masterpieces, for example.

6. Imagine you were asked to provide a film score for 'The Lord of the Rings' the final film. What motifs would you use to describe particular characters?