Eve of "Der Ring des Nibelungen"
Composer Richard Wagner · Libretto by Richard Wagner
In German with English and German surtitles
Saturday, 13. January 2018
06:00 pm – 08:25 pm
Duration est. 2 hours 25 minutes
On 13 November 2017 the online booking for the last remaining ticket begins.Download Cast List (PDF)
Dates & Tickets
- Musikalische Leitung
- Kirill Petrenko
- Andreas Kriegenburg
- Harald B. Thor
- Andrea Schraad
- Stefan Bolliger
- Zenta Haerter
- Marion Tiedtke
- Miron Hakenbeck
- Wolfgang Koch
- Markus Eiche
- Dean Power
- Norbert Ernst
- John Lundgren
- Wolfgang Ablinger-Sperrhacke
- Alexander Tsymbalyuk
- Ain Anger
- Ekaterina Gubanova
- Golda Schultz
- Okka von der Damerau
- Christina Landshamer
- Rachael Wilson
- Jennifer Johnston
Media CentreTo List of Performances
The unsullied enchantment of E-flat major harmonies in the initial bars of Das Rheingold doesn’t last very long. Instead, a world comes into being; a world that fifteen hours of music later will be unable to stave off its own downfall. In this world, nature is violated, and laws are ignored. Greed, power and malediction are the order of the day. Alberich steals the gold from the Rhine Maidens, enslaves his workers and revels in the sweet smell of world domination. Wotan claims it for himself and joins forces with Loge to make off with the ring, the gold and the magic helmet. His construction project is envisioned as the foundation of existence for his family of gods – his wife objects. He must part with the accursed ring as payment to the two giants. Seething with envy, one giant murders the other. The glow of the gods’ castle first gleams after the tempest, but Loge sees the castle already headed for ruin. The threads of the tale get tangled in this eve of the tetralogy, the water loses its sheen, and the clouds are shrouded in darkness.
The Rhinemaidens Woglinde, Wellgunde and Floßhilde are enjoying themselves in their element. Floßhilde is the only one who reminds them that they are actually guarding the Rhine gold.
The Nibelung Alberich approaches the three maidens, full of longing for love and tenderness, but is scorned and rejected by them.
Alberich, between reeling with anger and swooning with increasing desire, has no idea of what he has seen when his eye is caught by the glint of gold in the light of the rising sun. But then Wellgunde reveals the deep, dark secret: anyone who fashions the gold into a ring will make himself ruler of the world, but only if he renounces love beforehand. Alberich has an outrageous idea: with such power he could perhaps not force somebody to love him but certainly to indulge his desires.
He does what has previously been unthought of – he curses love and steals the gold.
Wotan has had the giants Fasolt and Fafner build the castle of Valhalla, from which he plans in future to order and rule the world. To pay for it he has promised to give the giants his sister-in-law Freia.
The castle is ﬁnished. Wotan attempts to stall the proceedings and calm his wife Fricka, who is worried about her sister. He has no intention of paying the price demanded. The giants insist that the contract should be honoured.
Loge, the God of Fire, whom Wotan has sent into the world to look for an equivalent form of payment instead of Freia, returns empty-handed. Nobody on earth can think of anything more valuable than happiness the love of a woman can give. Loge reports that he has heard of one person only, Alberich, who is said to have renounced love in order to forge a ring out of the Rhine gold. With the help of this ring he is said to have made himself ruler of his people, through whom he can get ever more gold from the depths, with the help of which Alberich seeks to rule the world.
The news about the gold and the ring arouses everyone’s interest. Fafner suggests a deal: Wotan should use Alberich’s gold as a ransom for Freia. The giants grant Wotan an extra day. As they leave with Freia as their hostage the Gods begin to wilt: it was the apples which Freia tended that had given them eternal youth. Wotan must act: accompanied by Loge he descends to Nibelheim.
Driven by Alberich’s brutality, the Nibelungs are extracting ever more gold and piling it up in a huge hoard. Alberich has had his brother Mime make a magic helmet, the wearer of which can assume any shape he chooses.
Alberich uses this invisibility to terrorize those he has subjugated. Wotan and Loge ﬁnd Mime, who has been beaten and conﬁdes in the strangers, willingly revealing to them the secret of the helmet. Sure of his victory, Alberich tells the unbidden guests his plans for the future: he will seduce everybody with his gold and thus also conquer the gods.
Loge cunningly turns the conversation to the subject of the helmet. When he voices doubt about its powers, Alberich shows oﬀ by performing all his tricks: he ﬁrst turns into a serpent, then into a toad. Wotan and Loge overpower him in this guise and abduct him from Nibelheim.
In order to buy his release, Alberich is forced to hand over the Nibelung hoard to Wotan. But Wotan is not satisﬁed with this and demands the ring as well. Alberich does not want to part with this at whatever cost and Wotan tears the ring from Alberich’s ﬁnger.
Once released, Alberich curses the ring: everyone will be envious of it and want to possess it, but instead of being of use to whoever possesses it, it will only bring sorrow, misfortune and death.
A space the height and width of Freia is measured out and the Nibelung hoard is piled up to match it, but the giants do not want to let Freia go until the ring is also in their possession. Urged on by the other gods Wotan refuses, but the wise old goddess Erda manifests herself out of the depths and appeals to his conscience: she warns him against the curse-laden ring and whispers secret things about an end in disaster. Disturbed by her appearance, Wotan hands over the ring and buys Freia’s freedom. Fafner quarrels with his brother about the ring and kills him.
Freia’s brothers Donner and Froh use magic to inﬂuence the weather and dispel the oppressive atmosphere. The gods enter Valhalla in a solemn procession. Loge prophesies their end in disaster. The Rhinemaidens can scarcely be heard as they call for justice from the depths.
Kirill Petrenko was born in Omsk in 1972 where he studied piano at the College of Music. At the age of eleven he gave his first public performance as a pianist with the Omsk Symphony Orchestra. In 1990 his family (his father a violinist and his mother a musicologist) relocated to Vorarlberg where his father worked as an orchestra musician and music teacher. Petrenko first continued his studies in Feldkirch before moving to Vienna to study conducting at the Academy of Music and Performing Arts.
His first job after graduation took him directly to the Vienna Volksoper where he was hired by Nikolaus Bachler as Kapellmeister. From 1999 until 2002 Kirill Petrenko was General Music Director at the Meininger Theater. It was in 2001 in his role as conductor of Wagner's Der Ring des Nibelungen, in the production by Christine Mielitz and with scenery by Alfred Hrdlicka, that he first achieved international acclaim. In 2002 Kirill Petrenko became General Music Director of the Komische Oper Berlin where, until 2007, he was credited with a series of highly significant productions.
During his time in Meiningen and Berlin his international career also began to flourish. In 2000 Kirill Petrenko made his debut at the Maggio Musicale Fiorentino, in 2001 at the Vienna Staatsoper and the Dresden Semperoper, in 2003 at the Gran Teatre del Liceu in Barcelona, the Opéra National de Paris, the Royal Opera House Covent Garden in London, the Bayerische Staatsoper, the New York Metropolitan Opera and in 2005 at the Oper Frankfurt. In Lyon, in collaboration with Peter Stein, he conducted all three Pushkin-inspired operas by Tchaikovsky (Mazeppa, Eugene Onegin and Pique Dame) from 2006 until 2008, which were also performed as a cycle in early 2010.
After moving on from the Komische Oper Berlin Kirill Petrenko worked as a freelance conductor. During this period his projects included conducting a new production of Leoš Janáček's Jenůfa (Production: Barbara Frey) at the Bayerische Staatsoper in 2009. In Frankfurt he conducted Pfitzner's Palestrina (Production: Harry Kupfer) and Puccini's Tosca (Production: Andreas Kriegenburg). In 2011 he worked on two new productions of Tristan and Isolde at the Opéra National de Lyon and at the Ruhrtriennale.
To date, the most important orchestras Kirill Petrenko has been invited to conduct include the Berlin Philharmonic, the Dresden Staatskapelle, the BR Symphony Orchestra, the Bayerische Staatsorchester, the WDR Cologne Symphony Orchestra, the Hamburg Philharmonic and the NDR Hamburg Symphony Orchestra, the Frankfurt Opern- und Museumsorchester, the Amsterdam Concertgebouworkest, the Vienna Radio Symphony Orchestra, the Vienna Symphony, the Cleveland Orchestra, the Chicago Symphony Orchestra, the London Philharmonic Orchestra, the Oslo Philharmonic Orchestra, the Santa Cecilia Orchestra in Rome, the RAI National Symphony Orchestra in Turin and the Israel Philharmonic Orchestra. Kirill Petrenko has also conducted concerts at the Bregenz and Salzburg Festivals. From 2013 to 2015 he swung his baton for the new production of Richard Wagner's Der Ring des Nibelungen during the Bayreuth Festival.
Since September 2013 Kirill Petrenko has been General Music Director at the Bayerische Staatsoper. He will be working in this position until the end of the 2019/20 season. Since 2013, he has taken to the rostrum for premieres of Die Frau ohne Schatten, La clemenza di Tito, Die Soldaten, Lucia di Lammermoor, Lulu, Die Meistersinger von Nürnberg, Lady Macbeth of the Mtsenk District and Tannhäuser as well as the world premiere of Miroslav Srnka’s South Pole and a revival of Wagner's Der Ring des Nibelungen among other works. In June 2015, Kirill Petrenko was named future Chief Conductor of the Berlin Philharmonic, starting this position in autumn 2019.
In the current season at the Bayerische Staatsoper Kirill Petrenko led an new production of Puccini’s Il trittico, next up is a new production of Wagner's Parsifal opening the Munich Opera Festival. Furthermore, Kirill Petrenko conducts revivals of Der Rosenkavalier and three complete Ring-cycles, as well as three Academy Concerts with the Bayerische Staatsorchester.