A rollicking good story woven into music by a composer without peers, the ultimate operatic expression of the High Romantic aesthetic, and an opera that actually feels short at five hours.
The third part of Daniel Barenboim’s Ring cycle at the Proms proved to be similarly successful to the first two operas of the cycle, leaving both audience and conductor apparently delighted at its conclusion.The chief justification for “semi-staged” productions such as this is that they encourage greater focus on the music, and particularly on the orchestra.
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