>>16
"Awesome", of course, is hardly a term that has much currency in serious musicological criticism and debate. But I imagine that you mean by it that the third opera in the cycle, "Siegfried", and the eponymous hero whose story this opera tells, are the work and the character in which Wagner achieves most, dramatically and musically.
Now as to the work itself, I could cite at least one hugely-respected analyst of Wagner's oeuvre - George Bernard Shaw, whom of course you've never heard of in this or any other context, because he didn't appear in "Apocalypse Now" - who dismisses your opinion as utterly misguided. Shaw sees "Siegfried" as the part of "The Ring" where Wagner's "nerve fails". Everything that precedes it in the tetralogy - above all "The Valkyrie" - is that new, unclassifiable thing that was Wagner's great and essential achievement: a "Gesamtkunstwerk" held together by "endless melody". Everything from Act Two of "Siegfried" on is just "grand opera" again.