Organization

Bayreuther Festspiele

Direction d'orchestre

Pierre Boulez

Mise en scène

Patrice Chéreau

Décors

Richard Peduzzi

Costumes

Jacques Schmidt

Chanteur

Baryton

Donald McIntyre

Wotan

Ténor

Peter Hofmann

Siegmund

Soprano

Jeannine Altmeyer

Sieglinde

Basse

Matti Salminen

Hunding

Gwyneth Jones

Brünnhilde

Mezzo-soprano

Hanna Schwarz

Fricka

Carsten Lepper

Gerhilde

Gabriele Schnaut

Waltraute

Contralto

Gwendolyn Killebrew

Schwertleite

Marga Schiml

Siegrune

Ilse Gramatzki

Grimgerde

Orchestra

Bayreuther Festspielorchester

Die Walküre -  (La Walkyrie)

Bayreuth

Allemagne

Ö1 tip:
Many productions of Richard Wagner's monumental cycle "Der Ring des Nibelungen" with a wide variety of interpretive approaches have taken the world's stages in recent decades, but hardly any of these new interpretations, sometimes more or less successful, have gone down in performance history as much as the "Ring "-Production 1976 at the Bayreuth Festival. Back then, 40 years ago, the 100th anniversary of the festival was celebrated, at the same time the 100th anniversary of the first complete cyclic "Ring" performance - and for the first time the production outside the Wagner family was awarded for this special event. After two "Ring" productions each, directed by Wagner's grandsons Wieland and Wolfgang in the post-war years in Bayreuth, the 31-year-old film and acting director Patrice Chéreau was hired for the anniversary production. His radical interpretation of the “ring” (located in the early industrialization period) as a parable of the upheavals of the 19th century, as “a description of the perversion of society based on the preservation of power” (Chéreau’s own quote) is vehement at first rejected, only to be celebrated more and more (until 1980) thanks to the strong imagery, the stringency of the production and the intensity of the performances. This production has gone down in music history as the “Ring of the Century”. It was first vehemently rejected as "a description of the perversion of society based on the preservation of power" (Chéreau's own quote), and then (until 1980) more and more thanks to the strong visual language, the stringency of the production and the intensity of the performances to be celebrated. This production has gone down in music history as the “Ring of the Century”. It was first vehemently rejected as "a description of the perversion of society based on the preservation of power" (Chéreau's own quote), and then (until 1980) more and more thanks to the strong visual language, the stringency of the production and the intensity of the performances to be celebrated. This production has gone down in music history as the “Ring of the Century”.

The Brünnhilde of the Chéreau "Ring" was the Welsh soprano Gwyneth Jones; She had developed from the youthful-dramatic repertoire into the more difficult subject - and since this Bayreuth production of "Ring" at the latest, she has been regarded as the leading highly dramatic soprano of her time. "I have no words to describe these five years," said director Patrice Chéreau after the last performance. “It was one of the most important experiences of my life to be able to work with you, Gwyneth. You were the stone on which I built my ring. I won't forget that.” Dame Gwyneth Jones celebrated her 80th birthday this month.

(Michael Blees, Ö1 opera editors)

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Dates

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