Der Ring des Nibelungen in a production of the Zürich opera house, recorded 2024. "Dramatic music-making at its finest". In the hands of General Music Director Gianandrea Noseda and Stage Director Andreas Homoki, Wagner's myth is represented as "a dysfunctional family of gods" (The Independent) in a polished yet unpretentious production that underscores the humanity of the characters, who are performed by the same exceptional cast of singers across all four operas.

This new production of Wagner's Der Ring des Nibelungen at the Bayreuth Festival was the opera event of the 2022 Festival summer. Young director Valentin Schwarz reimagines the mythical story in the present day and tells a gripping family saga in the world of the rich and powerful. The musical direction is in the hands of Cornelius Meister. In Das Rheingold, the antagonists Wotan and Alberich are hostile twin brothers and it is not the gold from the Rhine that is stolen at the outset, but a child, emphasizing the fact that dynasties are always overshadowed by the question of who will one day inherit power.

Prologue to Ring Cycle. DVD release June 2009.

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This 1978 studio production of the prologue to Wagner's masterpiece is the only segment of the famous Salzburg Festival/Metropolitan Opera productions, first seen in the 1960s, that made it to film. Based on one of those original productions, Georges Wakhevitch produced stage settings and transformations that supported Karajan's concept with every possible means. Herbert Von Karajan's staging is in the epic style of another age, emphasizing the dignity of the gods rather than their all too human failings. With the singers - foremost among them Peter Schreier - Karajan had an ensemble that fully conformed to his intentions.

The prologue to Wagner's giant masterpiece Der Ring des Nibelungen unfolds the beginning of an epic journey when Alberich seizes the ring of gold, its awesome power unleashing an unstoppable story of deceit, destruction, death and transfiguring love. Filmed at Barcelona's Gran Teatre del Liceu in 2004, Harry Kupfer's stunning production first staged in Berlin, and recorded in sumptuous surround sound, numbers among the greatest productions of modern times.

Director and visual artist Romeo Castellucci will tackle this mythological material and project his visions over the course of the journey performed by the characters, representing concretely such key elements of the Ring as water and fire. This symbolic reading will concentrate on essential aspects of the libretto, inviting spectators to forge their own interpretation. Avoiding irony, Castellucci will treat each protagonist with equal importance, highlighting the aspirations, emotions and thoughts that animate them: absolute love and the conquest of power.

The La Scala Rheingold in May 2010 inaugurated Guy Cassiers Ring-Cycle and introduces a completely new paradigm to this work. While before him Patrice Chéreau had laid his focus on a historical analysis from 1870 to 1930 Germany, Guy Cassiers’ Ring unfolds “from our own present-day moment; it [takes] place in ‘the now’, the Jetztzeit (Walter Benjamin), placing our present and our future into the context of the promises and curses that we have inherited from history … The Cassiers Ring shows how the globalized moment of 2010 continues to build on the Wagnerian vocabularies of 1870.” (Michael Steinberg) Cast with a number of opera stars like René Pape, Stephan Rügamer, Johannes Martin Kränzle and Anna Larsson and conducted by Daniel Barenboim, this Rheingold is bound to put the audience under its spell.

Wagner's Ring of the Nibelungen is regarded as one of the most important milestones in the history of music. In the first part, the Rheingold, it begins with the chain of fateful entanglements that ultimately attracts the downfall of the race of the gods.

This is the Ring cycle of the Dutch National Opera, directed by Pierre Audi. In the depths of the Rhine, the three Rhinemaidens guard the Rhinegold, a treasure of immeasurable value. The Nibelung dwarf Alberich is dazzled by the sight of it. The girls explain that whoever wins the gold and forges it into a ring will gain power over the world, but must first renounce love. Frustrated by his unsuccessful attempts to catch one of the girls, Alberich curses love and steals the gold. Wotan, lord of the gods, is reproached by his wife Fricka: he has promised to give Freia, goddess of youth, to the giants Fasolt and Fafner in return for their building a fortress for the gods. When the giants demand their reward, Loge, the god of fire, suggests an alternative payment: the ring Alberich has forged from the Rhinegold, and his other treasures. The giants agree, and Wotan and Loge leave for the Nibelungs’ underground home.