(Photo: Krzysztof Mystkowski/ Baltic Opera Festival) Richard Wagner’s “Die Walküre” unfolds in a world governed by contracts, power structures, and inherited systems of control. Yet beneath its mythological surface lies a drama about the moment when those systems begin to fail. In John Fulljames’s production, presented at the Forest Opera in Sopot as a co-production of the Royal Danish Theatre {…}
(Credit: Monika Rittershaus) The burden of immortality Few opera houses can claim the historical authority of Munich in matters Wagnerian. It was here, after all, that “Das Rheingold” and “Die Walküre” first reached the stage, and any new Ring mounted by the Bayerische Staatsoper must inevitably negotiate not only Wagner’s score but also the immense weight of tradition. Tobias Kratzer’s {…}
(Credit: M.Rittershaus) The Bayerische Staatsoper is set to broadcast “Die Walküre” on its Staatsoper TV platform on July 4 as part of the “Opera for All” program. The production by Tobias Kratzer will star Joachim Bäckström, Ain Anger, Nicholas Brownlee, Irene Roberts, Miina-Liisa Värelä, and Ekaterina Gubanova. Vladimir Jurowski conducts the new production. The new production comes after “Das Rheingold” {…}
Wagner’s “Die Walküre” will take the stage at Kongehallen, the Viking King’s Hall in historic Lejre, starting on June 7, 2026. The opera uses the edition prepared by composer Jonathan Dove and director Graham Vick for Birmingham Opera Company, with costumes crafted using traditional Viking techniques. Ensemble Storstrom will provide orchestral support under the baton of conductor James Sherlock, with {…}
(Photo Credit: Bernd Uhlig) I had high expectations for this production, following the previous evening‘s “Das Rheingold,” as director Stefan Herheim had plenty of ideas for “The Ring‘s” first installment. Sadly, his ideas could not sustain the dramatic textures of “Die Walküre,” as it is replete with long narrative dialogues and less action. Herheim’s tools, the traveling refugees, the suitcases {…}
A new production of “Die Walküre” directed by Katharina Wagner will receive its world premiere in China next month, marking the second installment of the “Bayreuth in Shanghai” three-year opera project. The production will be presented at the Shanghai Grand Theatre on April 24 and 26, 2026 as part of the 41st Shanghai Spring International Music Festival. It follows last {…}
The Atlanta Opera Film Studio has released three new cinematic opera films adapted from the company’s acclaimed stage productions of Richard Wagner’s Ring Cycle. Produced by The Atlanta Opera’s Carl W. Knobloch Jr. General and Artistic Director Tomer Zvulun and Film Studio Director Felipe Barral, the films transform the stage productions into full-length movie experiences designed for global streaming audiences. {…}
The Opéra de Paris has announced a cast change for its production of “Die Walküre.” The company said that Iain Paterson, who is ill, has cancelled the dress rehearsal, preview, and premiere of “Die Walküre.” As a result, the role of Wotan will be performed by Christopher Maltman on 8 and 11 November 2025.” Maltman is a well-known singer who has {…}
(Photo: Sofia Opera & Ballet) Director Plamen Kartaloff’s newest production of “Der Ring des Nibelungen” holds a very special place in the opera world. Sofia Opera and Ballet premiered this production in 2023 and OperaWire reviewed its arrival and aesthetic developments in full, detailing how “in a country with a population of less than seven million people, the cycle was {…}
(Photo: © Royal Swedish Opera) On March 29, the Royal Swedish Opera performed Wagner’s second opera, “Die Walküre,” from the four-opera epic, “Der Ring des Nibelungen.” Mixing interiors, epochs, and styles, the evening’s production featured (surprisingly sterile) 16th to 17th century Medieval great hall interiors for the first half and 18th to 19th century French fine art lined salon-meets 18th {…}
(Credits: Brescia e Amisano) ‘The error in the art-genre of Opera consists herein – a Means of expression (Music) has been made the objective, while the End of expression (the Drama) has been made a means.’ – Richard Wagner “Opera and Drama” (1851) Words and Tones, A Drama Must Make Wagner is difficult, though he attempted, through a lifetime {…}