Final act of a failed production
The final opera in Richard Wagner's Der Ring des Nibelungen tetralogy, Le Crépuscule des dieux (or Götterdämmerung), was performed at the Opéra de Paris-Bastille on October 18. The production, directed by Calixto Bieito, was part of a larger staging of the entire Ring cycle, which is scheduled to be completed in November 2026.Director's absence noted
Calixto Bieito, the stage director, did not attend the premiere of Götterdämmerung. He had previously stated he would appear after the fourth opera, but may have intended to wait until the full Ring cycle is completed in 2026. His absence may have been due to concerns about public reaction to his previous interpretations of the tetralogy.Mixed critical reception
While the production of Götterdämmerung was criticized for being incoherent and lacking conviction, it did feature a few scenes that stood out. These moments, though isolated, offered a glimpse of artistic merit amid an otherwise weak staging.Notable scenes and performances
One standout moment was the depiction of the Norns, the fate-weaving goddesses, in a visually striking scene. Their voices, performed by Aude Extrémo, Marie-Andrée Bouchard-Lesieur, and Sinéad Campbell-Wallace, were praised for their beauty and emotional depth. Another scene in the Gibichung palace showcased strong vocal and acting performances by Johannes Martin Kränzle and Sinéad Campbell-Wallace.Criticism of character portrayals
The production faced criticism for its handling of key characters like Siegfried and Brünnhilde. Siegfried, played by Andreas Schager, was seen as too mature and lacking in charisma, while Brünnhilde, portrayed by Tamara Wilson, was ridiculed for her costume and forced actions that undermined her character's dignity.Disappointing final moments
The final act of Götterdämmerung was described as childish and overwhelming. The staging of Brünnhilde's final moments, including her spinning on stage and carrying a wooden horse, was seen as lacking in gravitas. The overall production was criticized for its failure to match the grandeur of Wagner's music and the mythic scale of the story.
