Organization

Conductor

Nicholas Carter

Stage director

Stage director (+3)

Stefan Herheim

Set designer

Silke Bauer

Costume designer

Set designer (+1)

Uta Heiseke

Dramaturge

Dramaturge (+1)

Alexander Meier-Dörzenbach

Jörg Königsdorf

Bass-baritone (+2)

Iain Paterson

Wotan

Baritone (+5)

Thomas Lehman

Donner

Tenor

Attilio Glaser

Froh

Tenor (+5)

Thomas Blondelle

Loge

Baritone (+3)

Jordan Shanahan

Alberich

Tenor (+6)

Ya-Chung Huang

Mime

Bass (+3)

Albert Pesendorfer

Fasolt

Mezzo-soprano (+5)

Annika Schlicht

Fricka

Soprano (+1)

Flurina Stucki

Freia

Mezzo-soprano (+2)

Karis Tucker

Flosshilde

Deutsche Oper Berlin

Orchestra

Orchester der Deutschen Oper Berlin

Mezzo-soprano (+3)

Arianna Manganello

Wellgunde

Soprano

Lea-ann Dunbar

Woglinde

Conductor (+1)

Donald Runnicles

Lighting designer

Ulrich Niepel

Bass (+1)

Tobias Kehrer

Fafner

Contralto (+2)

Lauren Decker

Erda

Video

Video (+2)

Torge Møller

Contralto (+5)

Lindsay Ammann

Richard Wagner described DAS RHEINGOLD as the “eve” of his stage festival DER RING DES NIBELUNGEN – a term that is certainly no coincidence reminiscent of the prologues of baroque opera. Because here as well as there the gods have the word and create the basic conditions under which the fates of the people will later be decided. And just like the ancient deities in Monteverdi, their Nordic relatives in Wagner are beings in which the driving forces of human existence are embodied. In the almost two and a half hours of RHEINGOLD, all the feelings, desires and thoughts that also determine our own existence appear. Starting with the innocent playfulness of the Rhinemaidens, whose gold was stolen by the Nibelung Alberich, about the unbridled lust for power of this dwarf and the mocking nihilism of the fire god Loge to the attempt of the father of the gods Wotan to create lasting values ​​with his castle Valhalla. And last but not least, there is the gold itself as the silent protagonist.

With its claim to explain the world and its sheer length in time, DER RING DES NIBELUNGEN is the greatest challenge for every opera director. At the Deutsche Oper Berlin, Stefan Herheim set himself the task of translating the ideas of Wagner's tetralogy into the 21st century. Winner of many awards, the Norwegian is one of the most important directors of our time: in his works, he repeatedly makes clear the historical connections and the history of the impact of the respective operas.

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