top of page

Das Rheingold

Directed by: Brian Staufenbiel



Music and Libretto by: Richard Wagner


Original Production

Minnesota Opera - 2016


Additional Production dates

Arizona Opera - 2018

L'Opéra de Montréal - 2018

Seattle Opera - 2023

Calgary Opera - 2024

 

DESIGNERS

Matthew LeFebvre - Costume Designer

David Murakami - Projection Designer

David Zimmerman - Hair & Makeup Designer

Nicole Pearce - Lighting Designer


ORIGINAL CAST

Michael Christie - Conductor

Greer Grimsley - Wotan

Nathan Berg - Alberich

Denyce Graves - Erda

Katharine Goeldner - Fricka

Richard Cox - Loge

Dennis Petersen - Mime

Karin Wolverton - Freia

Kyle Albverson - Donner

Julian Close - Fafner

Jeremy Galyon -Fasholt

Christopher Colmenero - Froh

Mary Evelyn Hangley - Woglinde

Alexandra Razskazoff - Wellgunde

Nadia Benavidez - Flosshilde



Director's Note

Wagner’s world of flawed gods, aspiring demi-gods, and power-mad dwarves presents a formidable challenge for modern sensibilities. So in mounting this production of Das Rheingold, I sought to connect Wagner’s mythical realm with the mysterious complexities of our technological era. The action takes place in a future where science and technology have caught up with nature, where the organic, the mechanical, and the digital have started to fuse. Indeed, the distinction between biological processes and industrial artifice has almost ceased to exist. Gods are part man, part machine, and dwarves aspire to reign supreme by mining the technology of the past — semiconductors and computers. Technology permeates all aspects of existence and identity, and status is measured by one’s degree of technological assimilation.

In putting Rheingold on the stage, I was inspired by Wagner’s philosophy of Gesamtkunstwerk — complete work of art — and that accumulative notion informed the concept for this new production. The Jubilee Auditorium gave us the opportunity to integrate the Calgary Philharmonic Orchestra into the scenic textures onstage, with the orchestra’s physical presence creating a musical-visual fabric. This freed us to use the split- level pit to represent the Rhine River and the underworld of Nibelheim. As you’ll see, the singers and orchestra will be immersed in luminous projections, images that create a framework of backstories and enhance Wagner’s expansive compositional technique — leitmotifs — to support and develop the storytelling.

Wagner considered Das Rheingold a prelude (vorspiel) to the three operas that followed, making the complete Ring Cycle. In Rheingold we see the creation of the magic ring and are introduced to the salient elements that propel the entire cycle. It’s an epic story that very much has the power to speak to our time.

 

MEDIA





Comments


bottom of page