In 1821, the unemployed wigmaker Johann Christian Woyzeck stabs his sweetheart to death in Leipzig. The trial against him drags on for years until, after his sanity has been examined twice, all appeals for clemency are rejected and Woyzeck is sentenced to death. Alban Berg saw Georg Büchner's dramatization of this case at the Vienna Kammerspiele in 1914. In the face of the outbreak of the World War I, the signs of human denaturation, which Berg addresses in his opera without turning them into blatant social criticism, became more evident.

Wozzeck

German Oper am Rhein

The final part of the tetralogy sees another broadening of the horizon. Siegfried sallies forth »to new glories«, encountering people driven by a desire for power and riches and without scruple in their determination to acquire them. Without Brünnhilde on hand to help him, the hero succumbs to a conspiracy at the Gibichung hall, also triggering the beginning of the end of the old world, which is still beset by the curse placed by Alberich in THE RHINEGOLD on the ring, which confers great power on its wearer. With Brünnhilde realising what has happened, she sees self-sacrifice as the only path to redemption: by eradicating herself through immolation and returning the stolen gold to the Rhine, she will be clearing the way for a new beginning for all. From Brünnhilde’s ashes Wagner rekindles the love theme, which until then has only been played in Act 3 of THE VALKYRIE. This charges the final moments of TWILIGHT OF THE GODS with an atmosphere of hope rather than simply the gloom of destruction. The game can begin again; will it take a different course next time?

Der Ring des Nibelungen – Götterdämmerung

Deutsche Oper Berlin

The two middle sections of the tetralogy set out two ways of experiencing life. On the one hand we are presented in THE VALKYRIE with Brünnhilde, whose maturation process takes her from her discovery of sorrow and empathy to a conscious reflection on what it is to be human. By contrast, Siegfried’s path is mapped out solely as a function of his sensory experience. Where initially the young man’s self-image stems only from his exploration of his own boundless strength, other senses and sensibilities soon come to bear, along with an awakening sexuality. SIEGFRIED presents an encounter not only between man and woman but between two principles – Siegfried’s innate, unquestioned vigour on one side and Brünnhilde’s wisdom born of observation on the other. And as these two diametrical forces unite in a love clinch, the end of the opera seems to be presenting the basis for a renewal of human society.

Der Ring des Nibelungen – Siegfried

With the hegemony of the gods at its zenith at the close of THE RHINEGOLD and the gods ensconced in the castle of Valhalla, trouble is brewing in THE VALKYRIE. The mortals are power-crazed, mistrust and materialism rule and all that the gods can think about is enforcing the old codes rather than questioning their raison d’être. Siblings Siegmund and Sieglinde are condemned to death because there is no place for their special brand of love in society. Brünnhilde, a Valkyrie, is charmed by them and dares to defy her father Wotan’s sentence by taking the pair under her wing. In THE VALKYRIE Wagner makes it plain whose side he is on: in the big love scene between Siegmund and Sieglinde, in which the elemental force of love outpunches all social mores, and in the evolution of Brünnhilde’s character, whose conduct is at first motivated by intuitive sympathy but morphs into deliberate action as a protest against inhumanity and injustice.

Der Ring des Nibelungen – Die Walküre

Richard Wagner considered RHEINGOLD a "pre-evening" to his stage play DER RING DES NIBELUNGEN, a label that certainly deliberately refers to the prologues of the Baroque operas. Because here, as well as there, the gods are in control and create the conditions under which the fates of man will be decided. And just like the ancient deities of Monteverdi, their northern counterparts of Wagner are beings who embody the drives of human existence. All of the feelings, urges and thoughts that determine our own existence also appear in the two and a half hours of RHEINGOLD. Starting with the innocent games played by the Rheinmaidens whom the Nibelung Alberich robs of their gold, to this dwarf's unbridled lust for power and the scornful nihilism of the fire god Loge, to the father of the gods Wotan's attempt to create something that will last with his palace of Valhalla. And not lastly, the gold itself is a mute lead character: an item of gleaming fascination, it is simultaneously a touchstone by which each character is manifest and which divides gods and man alike into good and evil.

Der Ring des Nibelungen – Das Rheingold

During times of historical upheaval, the victors are filled with euphoric jubilation while fear spreads on the side of the losers. When cheerfulness grips the figures in Mozart’s piece, it is the swan song, full of schadenfreude, of dying structures, ancient privileges and traditional manners – including those between man and woman. Mozart (and Beaumarchais) hold the balance on the threshold between eras – as artists en route to self-marketing, as portraitists of their times, by precisely rendering a society whose balance is shifting, making Almaviva a ridiculous figure. His class is losing political power, and he compensates for this loss by becoming a slave to his sexual desire. The wind is blowing from the past, giving wing to Walter Benjamin’s angel of history. It is a storm for the winners, and for the losers a mere melancholy breeze. The angel sees nothing but ruins.

EPSG:4326

Le Nozze di Figaro

Staatsoper Hamburg

What do we long for when we love? And can another person ever truly recognize our deepest desires – let alone fulfill them?

Stefan Herheim

Events

Upcoming events

Nov 28, 2026 - Feb 27, 2027

Hoffmann's Tales · Oper Köln

Past events

Jun 2 - Jul 1, 2026

Wozzeck · Deutsche Oper am Rhein

25 - 31 May, 2026

Der Ring des Nibelungen – Götterdämmerung · Deutsche Oper Berlin

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