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This concert, with a running time of about two hours, was a lovely dip in the Rhine without the usual four-to-five hour Wagnerian full immersion.

Hagen, the first chapter in the Theater an der Wien's reimagining of The Ring, features music from Das Rhinegold and Götterdämmerung woven seamlessly together, telling the story from the perspective of Hagen, son of Nibelung dwarf, Alberich.

Tatjana Gürbaca’s whole scale tampering with Wagner’s Siegfried had so many flashbacks and flashforwards there should have been a warning for photosensitive members of the audience.  

Nobody at Carnegie Hall last night could recall a Wagner concert so gigantic, so thrilling, or so special. 

Eva-Maria Westbroek as Sieglinde was the high point at an opera gala in support of young singers at the Concertgebouw.

Wagnerians who are unfamiliar with the subtle humour of German humourist Loriot might sneer at the mere thought of paying to hear a version of the tetralogy that is cut by about 80% of the total score, but this was not the case with the regular Viennese Ring-goers who filled this performance. And judging from the applause, it was a worthwhile experience for them as well as for Wagner rookies.

To add insight and context to their performances of Das Rheingold, Opera North have been staging a number of events exploring Wagner, his music and the production of his operas. On Saturday evening their Howard Assembly Room played host to The Cross in the Mountains, an evening of German choral music composed in the age of the Ring Cycle.

Bryn Terfel hizo su debut en México con una noche de Wagner y una selección de arias y canciones diversas.

Una noche para el recuerdo que demuestra que en Ludovic Tézier tenemos a un barítono extraordinario y, muy posiblemente, un futuro gran Wotan.