Forty years after Seattle Opera first staged German composer Richard Wagner’s “Der Ring des Nibelungen,” the epic story returns Sunday to McCaw Hall at the Seattle Center.
What some consider the pinnacle of opera — a four-night progressive masterpiece rarely performed outside Germany — is expected to pump $39 million into the regional economy and draw thousands of enthusiasts from around the globe.
For many, “The Ring” is a once-in-a-lifetime experience, a rare opportunity to take in one of the greatest artistic achievements ever.
Wagner, a controversial but brilliant figure, could not contain his grand vision for art into a single performance. “The Ring” is a marathon effort: four back-to-back operas in sequential evenings totaling nearly 18 hours of music, singing and drama.
Based in part on Norse mythology, “The Ring” includes an ugly dwarf, riches, gold, a magically forged ring, a pantheon of Gods and the famous “Ride of the Valkyrie.” The music swells night after night to its lush conclusion.
Wagner was bored with contemporary opera styles of the day. With “The Ring,” he envisioned a grander scale. He spent 26 years crafting the four operas and even built Bayreuth, a Bavarian opera house designed for the production. The first complete staging took place there in August 1876 and brought together the largest orchestra ever assembled.
It took nearly a century for the Pacific Northwest to gain repute as a Wagnerian center. Seattle Opera’s founding director Glynn Ross saw an opportunity to create a kind-of American Wagnerian incubator.
Since 1966, summertime in Seattle has become synonymous with Wagner, including multiple productions of “The Ring.”
Speight Jenkins, who this year is retiring after 30 years at the helm, solidified the region’s stellar reputation for attracting world-renowned Wagnerian singers and conductors. Aidan Lang, most recently of the New Zealand Opera and a Wagner expert, takes over in 2014.
It’s important to note that Wagner must be appreciated through a historic lens. Wagner’s ribald anti-Semitism writings were hateful and his music went on to be used by Hitler. Wagner’s genius is tempered by this stain.
Still, this complexity, for me, adds to the mystery, tension and energy of the production. Like so much art, meaning is nuanced and different for each person.
This year’s production, revived from 2009, is the so called “Green” staging because of its focus on nature. Sunday night opens with the pre-quel “Das Rheingold,” then Monday starts the trilogy with “Die Walkiire,” there’s a pause until Wednesday when the music resumes with “Siegfried,” and finally a five-hour-plus “Gotterdammerung” on Aug. 9.
The entire cycle then will be repeated twice, starting Aug. 12 and 20.
The principle performers include two Seattle debuts: British soprano Alwyn Mellor as Brunnhilde and German tenor Stefan Vinke as Siegfried. Bass-baritone Greer Grimsley returns to Seattle as Wotan along with Richard Paul Fink as Alberich and Margaret Jane Wray as Sieglinde.
This is conductor Asher Fisch’s first time leading the complete “Ring” in North America. Stephen Wadsworth directs with sets by Thomas Lynch and costumes by the late Martin Pakledinaz.
Tickets for each cycle are sold out. Single event tickets start at $175. Last minute $20 standing- room-only tickets go on sale with the start of each cycle, Sunday, Aug. 12 and Aug. 20. Learn much more and buy tickets at www.seattleopera.org.
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