On a warm September afternoon, a startling sound could be heard in a rehearsal room here: a full-size orchestra, playing the second act of Wagner’s “Die Walküre.”
“I’m not saying we planned this,” Donald Runnicles, who was conducting the rehearsal, said in an interview. “But if you knew you were going to have a six-month hiatus where you didn’t hear any live music, what would you wish to hear after that six months? In my top 10, it would be ‘Die Walküre.’”
When Wagner began work on the text of the “Ring,” he was a young radical fleeing the failed revolutions of 1848. “We are all in a situation like Wagner,” Mr. Herheim said. “All somehow refugees, confronted with the concept of not having a harbor, not feeling safe, and at the same time having to face the destinies of so many people trying to get to us, and face the fact that many of us are not ready to feel empathy.”
https://www.nytimes.com/2020/09/25/arts/music/wagner-walkure-opera-berlin.html
Fearing the fate of Louis-Philippe, some monarchs in Germany accepted some of the demands of the revolutionaries, at least temporarily. In the south and west, large popular assemblies and mass demonstrations took place. They demanded freedom of the press, freedom of assembly, written constitutions, arming of the people, and a parliament.
https://en.wikipedia.org/wiki/German_revolutions_of_1848%E2%80%931849