Don't forget Fafner, the greedy capitalist beast who does nothing but sit on his golden hoard, and the forest bird, that little chattering yenta! "Oy, Siegfried, bubbula! Listen to your forest bird! I know a nice zaftig meydl who a real mensch would walk through fire to marry!"
But seriously...
It might serve as an interesting corrective to Barry Millington's superficial analyses to point out the more profound ways in which certain ideas related to (if not necessarily representative of) Jewishness and Judaism can be found in Wagner's work. What's interesting is that these do not manifest a simple-minded "anti-semitism," which is not surprising in that Wagner's thoughts on Jewishness were more than mere simple-minded prejudices (as a fair reading of his famous tract should demonstrate). For example, a familiar figure in European folklore was that of the Wandering Jew; Wagner knew that legend well, and his Flying Dutchman evokes it. Of course the Dutchman is a sympathetic character and, in his search for redeeming love, also obviously represents Wagner himself, which makes for a most curious equation! It's been asked whether Wagner might have thought he was part Jewish; he may have suspected that his real father was his mother's second husband Ludwig Geyer, who Wagner may have suspected of being Jewish (although I believe it's generally thought that he wasn't).
Another example of a "Wandering Jew" is Wotan, who lusted after wealth and power, ruled by force of law engraved on his spear (like the Law of Yawheh engraved on stone tablets), and became a Wanderer awaiting his redemption. He may represent Judaism and its law-based moral code, which would be supplanted by the intuitive, love-based morality of Brunnhilde. Titurel in Parsifal reincarnates Wotan's legalistic authoritarianism, and like Wotan must die to make way for Parsifal, who enacts a moral revolution akin to Brunnhilde's, but one which actually puts into practice the implications of her empathetic nature.
With Wotan and Titurel, as with the Dutchman, the thing that must strike us, perhaps with surprise, is that these characters are not portrayed as evil. None of them is the "villain of the piece," and none of them exhibits stereotypical "semitic" traits; they are, rather, complex, ambivalent, and noble despite their crimes. This makes it rather hard to understand the possible presence of these associations in Wagner's mind, and their serious philosophical and psychological meaning, in terms of "anti-semitism." Recall that it was Hermann Levi who tried to reassure his rabbi father that Wagner's criticism of what he called "Jewishness" in art was not "petty" and sprang from "the noblest of motives." We may consider that a bit of over-generous rationalizing necessary to a man who worked closely with Wagner (although that closeness may also be reason to respect Levi's judgment), but it does point up the fact that Wagner's thoughts on culture - art, politics and religion (Christianity as well as Judaism) - were not superficial. And if they did find their way into Wagner's art, they are likely to have done so in ways more profound and humanly significant than Millington's attribution of "popular Jewish stereotypes" to Nuremberg's town clerk, or to a nasty dwarf living in a cave, would suggest.
Wagner, in his art, is concerned with archetypes, not stereotypes. If some are eager to find the latter in his philosophically and psychologically rich musical dramas, they prove only that their minds are smaller than his.