Organization

Conductor

Gianandrea Noseda

Stage director

Andreas Homoki

Set designer

Christian Schmidt

Florian Schaaf

Lighting designer

Franck Evin

Dramaturge

Werner Hintze

Beate Breidenbach

Singer

Tenor

Klaus Florian Vogt

Siegfried

Wolfgang Ablinger-Sperrhacke

Mime

Baritone

Tomasz Konieczny

The Wanderer

Bass

Christopher Purves

Alberich

David Leigh

Fafner

Contralto

Anna Danik

Erda

Soprano

Camilla Nylund

Brünnhilde

Rebeca Olvera

Voice of a Woodbird

Costume designer

Video designer

Tieni Burkhalter

Opernhaus Zürich

Orchestra

Philharmonia Zürich

German

Zurich

Switzerland

Opernhaus

Siegfried Wagner,Richard

Public

English

Approved

"He who fears the tip of my spear will never pass through the fire!" – with these words Wotan had his daughter Brünnhilde at the end of Die Walküreleft asleep in the midst of a ring of fire. Now he is there: Siegfried, the fearless hero, who alone can succeed in waking Brünnhilde; the free, independent hero born of the incestuous love between Siegmund and Sieglinde, on whom Wotan's whole hope rests; and at the same time Wagner's most anarchist hero, who grew up without a mother or father with the dwarf Mime in the forest, uncivilized and ignorant. The vigorous, impetuous child of nature has grown into a young adult who rebels against the father, who is not his real father, and breaks free to finally learn to fear. In the forest he kills the dragon Fafner and takes the ring and the magic cloak; he has no idea what magical powers live in it. But Siegfried is a thoroughly ambivalent hero - radiant and victorious, but at the same time unthinkingly destructive: he brutally kills Mime when he tries to poison Siegfried in order to get hold of the ring. Fearlessly, Siegfried finally walks through the fire; only the encounter with Brünnhilde and his awakening sexuality scares him temporarily. They both sing jubilantly about love - and for a moment it seems as if the utopia of a new world free of power struggles and contractual constraints could become reality. The first two acts of Siegfried - Wagner's conceptual starting point for the Fearlessly, Siegfried finally walks through the fire; only the encounter with Brünnhilde and his awakening sexuality scares him temporarily. They both sing jubilantly about love - and for a moment it seems as if the utopia of a new world free of power struggles and contractual constraints could become reality. The first two acts of Siegfried - Wagner's conceptual starting point for the Fearlessly, Siegfried finally walks through the fire; only the encounter with Brünnhilde and his awakening sexuality scares him temporarily. They both sing jubilantly about love - and for a moment it seems as if the utopia of a new world free of power struggles and contractual constraints could become reality. The first two acts of Siegfried - Wagner's conceptual starting point for theRing – made in Zurich; In 1857 Wagner interrupted work on the Ring and only resumed it 12 years later – after Tristan and Die Meistersinger . The art of instrumentation in the Siegfried is extremely sophisticated, downright impressionistic ; Again and again Wagner succeeds in pouring the large orchestral apparatus into differentiated, suggestive sound images. General Music Director Gianandrea Noseda is responsible for a finely balanced, transparent sound balance, the staging is in the hands of Andreas Homoki, as in the two previous parts of the tetralogy. Klaus Florian Vogt and Camilla Nylund make important role debuts in Zurich as Siegfried and Brünnhilde.

«Wer meines Speeres Spitze fürchtet, durchschreite das Feuer nie!» («He who fears the sharpness of my spear shall never pass through the fire!») – with these words, Wotan left his daughter Brünnhilde in the middle of a ring of fire. Now, another is there: Siegfried, the fearless hero, the only one who can awaken Brünnhilde. He is the independent «free hero» born of the incestuous love between Siegmund and Sieglinde, on whom all of Wotan’s hopes rest. He is also Wagner’s most anarchistic hero, who grew up in the forest with the dwarf Mime, motherless, fatherless, uncivilized, ignorant. The once vigorous, impetuous child of nature has become a young adult who rebels against the father figure who is not his real father, leaving all he has known, so that he may finally learn to fear. In the forest, he kills the dragon Fafner and takes the ring and the cloak of invisibility; he has no idea of the magical powers that dwell within them both. But Siegfried is an ambivalent hero: radiant and victorious, but also thoughtlessly destructive. He brutally slays Mime when the latter tries to poison him and gain control of the ring. Fearlessly, he walks through the fire’s flames; it is only his encounter with Brünnhilde and his awakening sexuality that momentarily frighten him. Jubilantly, both sing of love – and for a moment it seems as if the utopia of a new world, free of power struggles and obligations and treaties, could become reality. The first two acts of Siegfried, Wagner’s intellectual starting point for the Ring, were written in Zurich. He interrupted work on the Ring in 1857 and picked it up 12 years later – after having written Tristan and Die Meistersinger. The score of Siegfried has instrumentation that is extraordinarily sophisticated, almost impressionistic; Wagner succeeds time and again in orchestrating his large musical apparatus in differentiated, suggestive sound images. General Music Director Gianandrea Noseda will take charge of crafting this finely balanced, transparent sound, and the staging is in the hands of Andreas Homoki, just as in the two previous parts of the tetralogy. Klaus Florian Vogt and Camilla Nylund will make important role debuts in Zurich as Siegfried and Brünnhilde.

Deutsch

Performance credits (Cast & Crew )

Cast

Crew

Ensemble