In the prologue of the Ring, the entire cycle has already been prophesied. At the sound of a chord that seemingly emanates from the depths of the earth, a mythological, timeless universe is born, finding an echo in each and every era. For over and beyond the story of the gold and the ring of power at the heart of the conflict between the Gods and the Nibelungs, it is power and the moral sacrifices required to exercise it that are in question. Musically and theatrically unequalled, Das Rheingold opens The Ring of the Nibelung.
From the beginning of the prelude, a storm rumbles, followed by an emotional tempest that continues to rage until Wotan bids a heart‑rending farewell to his daughter Brünnhilde. Although in Die Walküre passion is omnipresent, stronger than hatred, jealousy and divine authority, love is always ultimately smothered. In a flow of images as poetic as they are subversive, pitting Sigmund and Sieglinde against the malevolent Hunding and Fricka against her husband Wotan, Wagner portrays characters of rare psychological depth: beings who, lost in their torments and the impossibility of reaching their aims, await one who will embody a better future.
“Who am I?” wonders the orphan raised by the perfidious Mime, and the son of Sigmund and Sieglinde. The quest for identity and the awakening of manhood are at the heart of Siegfried. From simple mortal to fiery hero, the rite of passage of this pure being leads him to measure himself against those stronger than he is. Triumphing over all, Siegfried finds himself in possession of the Ring. But what can the greatest treasure of all mean to someone completely disinterested? One thing remains for this reckless hero still to encounter: fear. On finding the sleeping Brünnhilde, Siegfried must abruptly face infantile fears as yet unknown to him. It is in bringing the Walkyrie back to life that he attains adulthood. And thereby brings love into the world.
Unaware that Siegfried’s glory is now behind him, Brünnhilde pushes her hero towards new exploits and thus to his downfall: an end that seems increasingly inevitable as the corruption that stains the world becomes ever more salient. Moral values are overturned and the pure are betrayed, even by their own. In the very Prelude itself, has not the thread of life, spun by the Norns, been broken? As the Ring is restored by Brünnhilde to the Rhinemaidens in a final gesture as redeeming as it is fatal, Walhalla bursts into flames. This concludes the Ring Cycle, and, with it, the reign of the Gods. But what of the future?
from 13 to 21 Nov 2020
Attend the 4 operas of the Ring Cycle by choosing your dates from April to November 2020
Throughout the season, Arop invites you to delve into the heart of the Paris Opera,and allows you to easily access all performances with the greatest convenience. Become an Arop member and enjoy exclusive benefits while supporting the Paris national Opera.
By telephone on 08 92 89 90 90 (€ 0.35 TTC / min from a fixed station excluding potential cost depending on operator) or +33 1 71 25 24 23 from abroad, Monday to Saturday from 9h to 19h.
At the counters of Palais Garnier:
from 10h to 18h30 (at the corner of the streets Scribe and Auber - 75009 Paris).
At the counters of the Opera Bastille:
from 12 to 18:30 (130 rue de Lyon - 75012 Paris) from Monday to Saturday (except public holidays) and one hour before the beginning of the performances on Sundays and holidays. The Opera Bastille will be closed from Saturday 13th July to Thursday 29th August at 12:00.
Minimum purchase of 10 seats per performance.
Information and advice by email, firstname.lastname@example.org, or by phone at 01 40 01 80 54 (Monday to Friday from 10h to 13h and from 14h to 16h).