Valentin Schwarz’s production of The Ring of the Nibelung has returned to the Bayreuth Festival this year. As predicted, there was just as much outcry as applause; You either love it or hate it. The fans of Wagner’s original Ring are infuriated by the fact that alterations have been made to the original plot: Sieglinde is already pregnant when she first meets Siegmund (!), the baby’s father is Wotan (!), and Wotan’s magic ring of fire in which he casts a spell on Brünnhilde in the original is absent in this version, leaving a bitterly realistic depiction of Wotan as a weak-willed man. It is clear that this production has evolved to exist in the 21st century, with the Valkyries indulging in plastic surgery, and Wotan wearing a modern, dapper, yellow suit. People who have never watched Die Walküre would neither notice nor mind changes in the story, but fans of Wagner’s original Ring may find fault in the modernisation of the play. Schwarz’s production poses the question of how far an iconic original story can be changed to suit a contemporary audience. Whatever one’s opinion on it, it is certain that this kind of experiment could only be done by Bayreuth, a festival run by Wagner’s descendants.
In terms of acoustics, there is no other venue like Bayreuth Festival Theatre in which to enjoy Wagner’s music. The opera house was erected for the sole purpose of presenting The Ring of the Nibelung, and every section of the theatre caters to providing the audience with the best experience. The instrumentals echo from the board covering the orchestral pit onto the stage, then unite with the singers’ voices to land on the audience’s ears in a beautiful, synthesised harmony. The theatre became a key component in creating what Wagner called his ‘Gesamtkunstwek’, a German term which refers to a work of art which utilises multiple forms of art. It is worth going to the Bayreuth Festival Theatre to indulge in the acoustics there.
Although the echo mechanics of the Bayreuth Festival Theatre make conducting difficult (and some conductors leave in defeat), Simone Young did an impeccable job leading the Bayreuth Festival Orchestra. Lithuanian soprano, Vida Miknevičiūtė who performs as Sieglinde, has a tremendously powerful voice, while Polish bass-baritone, Tomasz Konieczny, holds his own as an increasingly tormented Wotan. A highlight was when Michael Spyres, playing Siegmund, sang Winterstūrm and moved audiences as he accepts Sieglinde’s unborn baby as his own. Andrea Cozzi’s setting was current and modern, raising a mirror up to our own daily lives.
If watching a modern retelling of a classic story is something that excites you, Schwartz’s production is a must-see, but if you are a traditionalist, wait until the 2026 production where another new interpretation will be unveiled on stage.
Composer: Richard Wagner (1813-1883)
Libretto: Richard Wagner
Director: Valentin Schwarz
Conductor: Simone Young
Set designer: Andrea Cozzi
Costume designer: Andy Besuch
Cast includes Tomasz Konieczny, Michael Spyres, Vida Miknevičiūtė and Catherine Foster
Venue: Bayreuth Festival Theatre in Bayreuth
Photograph: © Bayreuther Festspiele / Enrico Nawrath
Running Time: 5 hours and 55 minutes (including 2 intervals)
Until 21 August 2024