"He who fears the tip of my spear will never pass through the fire!" – with these words Wotan had his daughter Brünnhilde at the end of Die Walküreleft asleep in the midst of a ring of fire. Now he is there: Siegfried, the fearless hero, who alone can succeed in waking Brünnhilde; the free, independent hero born of the incestuous love between Siegmund and Sieglinde, on whom Wotan's whole hope rests; and at the same time Wagner's most anarchist hero, who grew up without a mother or father with the dwarf Mime in the forest, uncivilized and ignorant. The vigorous, impetuous child of nature has grown into a young adult who rebels against the father, who is not his real father, and breaks free to finally learn to fear. In the forest he kills the dragon Fafner and takes the ring and the magic cloak; he has no idea what magical powers live in it. But Siegfried is a thoroughly ambivalent hero - radiant and victorious, but at the same time unthinkingly destructive: he brutally kills Mime when he tries to poison Siegfried in order to get hold of the ring. Fearlessly, Siegfried finally walks through the fire; only the encounter with Brünnhilde and his awakening sexuality scares him temporarily. They both sing jubilantly about love - and for a moment it seems as if the utopia of a new world free of power struggles and contractual constraints could become reality. The first two acts of Siegfried - Wagner's conceptual starting point for the Fearlessly, Siegfried finally walks through the fire; only the encounter with Brünnhilde and his awakening sexuality scares him temporarily. They both sing jubilantly about love - and for a moment it seems as if the utopia of a new world free of power struggles and contractual constraints could become reality. The first two acts of Siegfried - Wagner's conceptual starting point for the Fearlessly, Siegfried finally walks through the fire; only the encounter with Brünnhilde and his awakening sexuality scares him temporarily. They both sing jubilantly about love - and for a moment it seems as if the utopia of a new world free of power struggles and contractual constraints could become reality. The first two acts of Siegfried - Wagner's conceptual starting point for theRing – made in Zurich; In 1857 Wagner interrupted work on the Ring and only resumed it 12 years later – after Tristan and Die Meistersinger . The art of instrumentation in the Siegfried is extremely sophisticated, downright impressionistic ; Again and again Wagner succeeds in pouring the large orchestral apparatus into differentiated, suggestive sound images. General Music Director Gianandrea Noseda is responsible for a finely balanced, transparent sound balance, the staging is in the hands of Andreas Homoki, as in the two previous parts of the tetralogy. Klaus Florian Vogt and Camilla Nylund make important role debuts in Zurich as Siegfried and Brünnhilde.
