| Bavarian State Opera | ||
| Kirill Petrenko | Conductor | |
| Andreas Kriegenburg | Director | |
| Andrea Schraad | Costume Designer | |
| Harald Thor | Set Designer | |
| Bayerischer Staatsopernchor | ||
| Bayerisches Staatsorchester | ||
| Petra Lang | Mezzo-soprano | Brünnhilde |
| Anna Gabler | Soprano | Gutrune, Third Norn |
| Jennifer Johnston | Mezzo-soprano | Wellgunde, Second Norn |
| Hanna-Elisabeth Müller | Soprano | Woglinde |
| Nadine Weissmann | Mezzo-soprano | Flosshilde |
| Okka von der Damerau | Mezzo-soprano | Waltraute, First Norn |
| Stephen Gould | Tenor | Siegfried |
| Tomasz Konieczny | Bass | Alberich |
| Alejandro Marco-Buhrmester | Baritone | Gunther |
| Hans-Peter König | Bass | Hagen |
Richard Wagner
Libretto by Richard Wagner
Third Day of "Der Ring des Nibelungen"
Wagner had begun work on his cycle with the prose sketch Siegfrieds Tod (Siegfried’s Death), then rolled it back into the past, like the Norns, who, at the beginning of the Third Day, try to tie together the ropes of yesterday and tomorrow.
Hagen and Siegfried – the sons continue the duel of their fathers. But Hagen plays with different weapons – sorcery, mendacity and betrayal. Siegfried declares the ring, which came about through the malediction of love, to the symbol of his love. Nevertheless, the curse is stronger. Siegfried betrays his love. Brünnhilde betrays Siegfried. Siegfried swears an oath on the weapon that only a short time later will penetrate his heart.
The gods gaze impotently on their own downfall. The struggle for power transfers to the humans who survive the catastrophe and will perhaps understand everything now that they know the end.
German with German surtitles