Name: Götterdämmerung
Start: 2022-01-26T00:00:00.000Z
End: 2022-02-27T00:00:00.000Z
Location: Teatro Real

Organization

Chorus master

Andrés Máspero

Singer

Tenor

Andreas Schager

Siegfried

Baritone

Lauri Vasar

Gunther

Bass

Stephen Milling

Hagen

Martin Winkler

Alberich

Soprano

Ricarda Merbeth

Brünnhilde

Amanda Majeski

Gutrune

Mezzo-soprano

Michaela Schuster

Waltraute

Contralto

Claudia Huckle

First Norn

Kai Rüütel

Second Norn

Third Norn

Elizabeth Bailey

Woglinde

Maria Miró

Wellgunde

Flosshilde

Stage director

Robert Carsen

Patrick Kinmonth

Conductor

Pablo Heras-Casado

Lighting designer

Manfred Voss

Costume designer

Set designer

Friedrich Suckel

Markus Eiche

Joachim Goltz

Catherine Foster

Anna Lapkovskaja

Christa Mayer

Marina Pinchuk

Assistant Director

Oliver Klöter

Oper Köln

Teatro Real de Madrid

Others

Coro Intermezzo

Orchestra

Orquesta Sinfónica de Madrid

þýska

Götterdämmerung -  (The Twilight of the Gods)

Madrid

Spain

Teatro Real

Sala Principal

Götterdämmerung – The Twilight of the Gods – seems like an amendment to the totality of the ideals expressed in Siegfried or, even, to the path laboriously traced throughout the preceding episodes: the Feuerbachian optimism that shone in the final scene of Siegfried becomes in Götterdämmerung , quickly and inexorably, in a feast of betrayals, plots and revenge that will drag all the characters, without exception, to perdition. In other words, Götterdämmerung finally stages the apocalyptic duel between queens Brunnhilde and Krimhilda recounted in The Nibelungenlied., an epic that was for Wagner – back in 1848 – the starting point for the composition of his monumental saga. Götterdämmerung is also the darkest and furiously avant-garde score in the cycle – the second act! – as well as a phenomenal recapitulation of the most significant musical moments of the three previous operas. Crowned with a powerful catharsis, Götterdämmerung also culminates the musical odyssey that began in the 2018-2019 season with Das Rheingold by Heras-Casado/Carsen with a reading that once again emphasizes the ecological subtext of this immense moral fable.

Götterdämmerung Wagner,Richard

Public

The Twilight of the Gods

spænska

enska

Approved

Götterdämmerung –El ocaso de los dioses– se antoja una enmienda a la totalidad de los ideales expresados en Siegfried o, incluso, del camino laboriosamente t...

El ocaso de los dioses | Tráiler | T.21/22

Götterdämmerung – Twilight of the Gods– seems like the amendment of all the ideas expressed in Siegfried or even the end of the laborious path constructed over the course of the previous operas in the story: the feuerbachian optimism which shone in the final scene of Siegfried quickly becomes, in Götterdämmerung, a rapid and relentless feast of treachery, plots and revenge that leads to the downfall of all the characters, without exception. In other words, Götterdämmerung presents the final and apocalyptic duel between the queens Brünnhilde and Kriemhild as narrated in the epic “Song of the Nibelung”  which was the point of departure around 1848 for Wagner to compose his monumental saga.  This is also the darkest and rabidly vanguard score of the cycle –that second act! –, as well as a phenomenal recapitulation of the musical motifs of the preceding operas. Crowned by a powerful catharsis, Götterdämmerung is the culmination of the musical odyssey which began in the 2018-2019 season with Das Rheingold headed by Pablo Heras-Casado (conductor) and Robert Carsen (production) in a staging that, once again, puts the accent on the ecologist subtext of this immense moral fable.

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