Organization

Bayreuther Festspiele

Dirigat

Daniel Barenboim

Regie

Harry Kupfer

Bühnenbild

Hans Schavernoch

Kostümbild

Reinhard Heinrich

Sänger

Tenor

Siegfried Jerusalem

Siegfried

Graham Clark

Mime

Bariton

John Tomlinson

Der Wanderer

Bass

Günter von Kannen

Alberich

Philip Kang

Fafner

Birgitta Svendén

Erda

Sopran

Deborah Polaski

Brünnhilde

Anne Evans

Hilde Leidland

Stimme eines Waldvogels

Orchestra

Bayreuther Festspielorchester

Deutsch

Deutschland

After the death of Siegfried's mother Sieglinde, the blacksmith Mime raises the boy. The uncultivated lad, to whom Mime initially refuses to reveal anything about his origins, finally forges his father's broken sword back together. In a fight, he defeats the giant worm Fafner, gains the Nibelungen hoard and is shown the way to the Valkyrie rock by the little forest bird. Wanderer Wotan, who asked Erda's advice in vain about whether he could stop the course of fate with Siegfried, wants to hold the young hero back. But the fearless smashes the wanderer's spear and awakens Brünnhilde.

Conductor Daniel Barenboim, director Harry Kupfer, set designer Hans Schavernoch and costume designer Reinhard Heinrich came to Bayreuth in 1988 to realize their vision of Wagner's "Ring". They consistently turned away from the time the work was created and conceived their staging as "a critique of human history, of the entire cultural development, at the end of which we are heavily involved" (Kupfer).

The Kupfer team set Wagner's "critique of man's rage for destruction, of lovelessness and alienation" (Kupfer), which is rooted in Germanic mythology, in a present that harbors a past and a future at the same time. The space for this pre-time, simultaneity and post-time is the "road of history" on which power struggles and love troubles occur and which leads us directly into the depths of the human soul.

"Under Barenboim, the music is exquisite. Especially the narrative power of Rheingold, the descriptions of the above- and below-ground events run off with great musical imagery in a fascinating variety of colors... All roles are again cast with sharp characters." (Die Welt, 7/29/92)

"Harry Kupfer and the protagonists brought the story as close to the audience as an opera can ever do." (Münchner Merkur, July 29, 1992) "With admirable rigor of the means of expression in the ring, he creates an opportunity to present the fullness of the forms in an exemplary manner and to clarify the basic questions of the 20th century without blatant one-sidedness." (Stuttgarter News, 29.7.92)

"You can already feel it: saying goodbye will be a difficult one. Harry Kupfer's production of Richard Wagner's Ring des Nibelungen has by no means lost any of its expressiveness over the years... The meeting of past, present and future is more than a vision. After Rheingold und Walküre it is beyond doubt that Harry Kupfer has presented what is perhaps the most important interpretation of the mammoth drama after Patrice Chéreau." (West German General, 29.7.92)

"Harry Kupfer's production of the Ring, intellectually well-founded, comedy-inspired, psychologically motivated, became the third important interpretation in Neubayreuth after Wieland Wagner and Patrice Chéreau. These three interpretations alone reveal the variety of scenic possibilities; they open up the widest spectrum in the stylistic pluralism of the today's music theater..." (Kölner Stadt-Anzeiger, 30.7.92)

"Kupfer overheard things from Wagner that he might not even have imagined." (Der Spiegel) "Copper frees us, if not all the time, then in striking scenes from our superego by entangling us in the story of the Ring of the Nibelung. The question of what this old myth still means today does not need to be asked in Bayreuth singer who lives from his art, and basically not a listener either." (FAZ)

"Bayreuth can boast, much to the fury of its ancient Wagnerians, an apocalyptic Ring interpretation for the ecologically conscious late eighties: Twilight of technology instead of Twilight of the Gods." (Profile, Vienna)

"Since the start in 1988, the detailed work on this ring has continued, and it has served in the Bayreuth workshop to bring the quality of the performance to the limits of what is achievable." (Der Tagesspiegel, Berlin)

Public

Genehmigt

Accordionist

Instrument

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Andere

Chefdirigent Musiktheater

Chor

Chordirektion

Choreographie

Chorus Director

Dramaturgie

Extra

GesangslehrerIn

Haar

Illustrator

Komposition

Korrepetition

Lehrer

Leitender Produzent

Libretto

Lichtgestaltung

Maske

Orchester

Orchestra Operations

Photographer

Poet

Rundfunk

Schauspiel

Stage Manager

Tongestaltung

Tänzer

Videogestaltung

Wig & Makeup Designer

Writer

Writing and performance

Übersetzung

Bass-Bariton

Mezzosopran

Countertenor

Alto

Continuo

Kinderstimme

Singer

Sprechrolle

Stumme Rolle

Siegfried by Wagner, Richard, Ab (1992/1992), Unter der Regie von Harry Kupfer,, Dirigat Daniel Barenboim

Aufführungskredite (Besetzung & Produktionsteam )

Besetzung

Produktionsteam

Ensemble

Programm, Über & Zusammenfassung

Weiterführende Literatur

Aufführungstermine & Spielstätten

Veranstaltungsorte