Rheingold in Munich: Alberich has never been seen so exposed

There are many cheers for the new and versatile “Rheingold” at the Bavarian State Opera, the first stop on the new “Ring” in Munich. However, it will not be fully forged for another three years.

At the end of the first show, there was unanimous approval on the musical side, and only a few boos of recognition, which were quickly lost in the general applause. Wouldn't it have been more convenient the other way around? The real highlight of the new Munich “Rheingold” is Tobias Scratch's direction. Even if he couldn't fulfill everything he had previously formulated this evening before the Wagner Theater Festival.

Here we talked about the tragedy of immortality and annihilation, represented by the divine and human Alberish. You don't notice much of it on stage, except for a great zero distance from everything divine. “God is dead,” one initially reads on the grate of a dilapidated church entrance (Stage and Costumes: Rainer Sellmeyer). An atmosphere that brings to mind some of the theatrical performances from historical productions of operas by Meyerbeer, Wagner's arch-rival. Certainly not a coincidence.