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The tireless Stefan Vinke wows in the title role of Opera Australia's Siegfried, in a production which harnesses technology to excellent effect.

Melbourne Opera's Siegfried continues the dramatic excitement and first class singing of it predessors in the Bendigo Ring cycle, including a great performance of the title role by Bradley Daley. 

A long stellar night of supremely assured singing and playing in Wagner's Siegfried, with the Bavarian Radio Symphony Orchestra and Sir Simon Rattle on top form.

Will Siegfried get his girl? Will she turn out to be his sister? And has the ultimate prize already got into the wrong hands? More posers from Bayreuth's intriguing new Ring.

Using Jonathan Dove and Graham Vick's distillations of Siegfried and Götterdämmerung, the company concluded its miniature Ring cycle in under five hours, without sacrificing musical or dramatic tension.

 Longborough Festival Opera’s ongoing Ring cycle returns to its fully staged form with a triumphant new Siegfried.

Forced to shift to online for the third episode of its Ring cycle, Göteborg Opera delivers absorbing new production by Stephen Langridge.

Daniel Barenboim conducts much of Siegfried as an intimate chamber opera, resulting in an unexpected musical joy, with an excellent cast of singers headed by Michael Volle’s Wanderer.

Müpa's Ring sees all-round musical excellence for a third night in row, which will be remembered more than the various distracting miscues in the staging.

Wagner's storytelling shines brightly with the aid of a cast well out of the ordinary. Vinke, Stemme, Siegel and Lundgren make part 3 of The Ring an unforgettable evening of opera.

Sir Mark Elder and The Hallé orchestra are the powerhouse in a memorable performance of Siegfried. Simon O’ Neill, Iain Paterson and Christine Goerke head up a universally strong cast.

Both the technical effects and the singing impress in San Francisco Opera's dark Siegfried.

The third installment of Semperoper Dresden’s Ring des Nibelungen cycle ups the ante with an outstanding ensemble performance.

Siegfried in Leipzig succeeds on all fronts: an engaging production, a great ensemble of singers and a well-conducted orchestra.

Stefan Vinke was a convincing, petulant, pouty Siegfried in the third episode in Wagner's Ring cycle in Vienna.

A performance of Wagner's Siegfried stands or falls by its titular hero and Lars Cleveman is highly experienced. 

The third installment of Géza M. Tóth's staging of the Ring, this Siegfried is visually striking, but it's only a strong cast, and above all Egils Silins' Wanderer, that makes it worth attending.

Joining Music Director Jaap van Zweden were some familiar faces who had appeared in Das Rheingold and Die Walküre in the same or different roles, and new faces appearing for the first time.

A combination of ingenious sets, truly heroic singing in the title role by Stefan Vinke, and excellence throughout the rest of the cast makes the Melbourne Siegfried an unmissible highlight of the Ring so far.

Visual references both incongruous and perceptive abound in the third instalment of Bayreuth's musically triumphant Ring cycle.

The third installament of the Ring in Frankfurt took full advantage of the architecturally ingenius set to complement great music making by the orchestra and singers.

While the Welsh were merrily slaying Belgians in Euro 2016, one dragon was on the receiving end at the Royal Festival Hall.

A strong performance at Staatsoper Berlin of the third opera of the Ring, Siegfried, was a showcase for tenor Andreas Schager in the title role.

Zambello's Ring for the WNO continues to engage and impress. 

The production is a disconcerting combination of cold metallic future and Neanderthal aesthetics – a startling pairing of humanity’s beginning and its end. 

Despite this mis-en-scene’s lack of intensity, this Siegfried closed the 2015 season of the Teatro Massimo with an outstanding musical performance.

Castorf's anarchic take on Siegfried pushes well beyond his treatment of the earlier parts of the Ring, and not all the heroics from Stefan Vinke, Wolfgang Koch and Catherine Foster can rescue the evening.

"under Inkinen the New Zealand Symphony Orchestra has set a standard that is rarely surpassed even internationally"

Peter Galliard (Mime), Vincent Wolfsteiner (Siegfried) and Antonio Yang (Wanderer) combine for an exciting, outstanding, dramatic Siegfried in Nürnberg.

The evening clearly belonged to Stephen Gould’s Siegfried and Sir Simon Rattle and Vienna Orchestra.

Rewarding performances by Matthäus Schmidlechner as Mime and Lars Cleveman in the title role, plus Elena Nebera as Brünnhilde, made Richard Wagner’s Siegfried at the Landestheater Linz a joy.

At the Bayerische Staatsoper, director Andreas Kriegenberg's concept for Siegfried works well, but the cast members aren't all up to the opera's challenges.

Valery Gergiev conducts a mesmerising account of Wagner's Siegfried in Birmingham

Catherine Foster's Brünnhilde bathes Bayreuth's Siegfried in a warm glow, while Wolfgang Koch sings a superb Wanderer. But director Frank Castorf does his best to subvert both.

The third instalment of the Ring in a weekend continued to feature solid singing and orchestra playing as Siegfried played through the night. 

Sometimes the star performer isn’t one of the big romantic headline roles, or even the baritone villain. In this Siegfried, the performance that left me gasping was Gerhard Siegel’s Mime.

Presenting Das Rheingold and Die Walküre in a single evening is audacious enough. To put on a Ring cycle in a week-end, you have to follow this by doing the same with Siegfried and Götterdämmerung, which requires something even more radical. Opéra de Dijon’s director Laurent Joyeux and dramaturg Stephen Sazio set themselves the task of cutting eight hours of music down to five.

Seattle Opera’s Siegfried takes place in familiar territory. Mime lives in the part of the forest where the gods roamed in Das Rheingold, and the dragon has made its lair where Hunding and Siegmund fought in Die Walküre (there’s even a bloodstain on the rock, which the Wanderer touches regretfully).

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.

Siegfried, the “Second Day” of Der Ring des Nibelungen and the third staging by Opera North after Die Walküre in 2012 and Das Rheingold the year before, is just as enthralling as its predecessors.

All things considered, this Met Siegfried was a mixed affair. There was much to enjoy and much to marvel at; there were times where the performance felt as if it might achieve real lift-off, but it never quite achieved the sustained momentum of Friday's Walküre.

For those who view Wagner’s Ring Cycle in symphonic terms, Siegfried is often described as the third movement Scherzo: an episode of comedy in between the existential musings of Die Walküre and the action-packed, apocalyptic Götterdämerung. Last night’s performance at the Opéra Bastille in Paris gave us plenty of high comedy and much more besides.

You have to sit in a small Fulham church, on a pretty uncomfortable chair, for at least four hours. And listen to a load of opera singers warbling about dwarves and gold and stuff. From certain perspectives, Fulham Opera’s production of Wagner’s Siegfried doesn’t sound like much fun at all.

Read our review of  Robert Lepage's production of Wagner­'s Siegfried in its 2011 broadcast from the Met Opera in New York.

Philippe Jordan und das Staatsopernorchester liefern den perfekten Klangteppich für die Schagerparade.

Après les deux premiers volets du Ring mis en scène par Romeo Castellucci, Pierre Audi prend le relais. La distribution est au rendez-vous, sous la baguette toujours formidable d'Alain Altinoglu.

La mise en scène du troisième volet de la Tétralogie déçoit cette fois-ci franchement, malgré de splendides décors. Musicalement cependant, il est difficile de rêver mieux !

Alexander Müller-Elmaus Inszenierung von Wagners dritter Ring-Oper gibt neue Rätsel auf, leuchtet die sich gegenseitig manipulierenden Charaktere im bewegungsstärksten Ringteil dezidiert aus.

Klaus Florian Vogt gibt ein vielbeachtetes Rollendebüt als Titelfigur, Generalmusikdirektor Gianandrea Noseda setzt seine italienische Wagner-Interpretation fort, und Regisseur Andreas Homoki bleibt dem problematischen Ansatz einer Deutungslosigkeit treu.