Wagner has evolved significantly in its connotation over time. When you Google “Wagner” today, you’ll find more information about the exploits of the Russian private army rather than that of Hitler’s favorite composer. This shift in focus is quite remarkable. Nowadays, “Wagner” is just as likely to bring to mind the 2010 X Factor contestant as the maverick German genius who sought to revolutionize opera and liberate humans from monotonous lives.
One of Wagner’s greatest achievements is the 15-hour operatic tetralogy Der Ring des Nibelungen, which the Royal Opera House will be showcasing soon. The first part, Das Rheingold, will be conducted by Antonio Pappano and directed by Barrie Kosky, who describes himself as a “gay Jewish kangaroo” and sometimes critic of Wagner.
The production promises gods, flying horses, dragons, dwarves, giants, magic helmets, sword-wielding men, babies, magic potions, incest, family dramas, betrayal, and, after approximately 14 hours and 40 minutes, an apocalypse that wipes out the gods. But why should we bother with Wagner in 2023? Despite his influence on cultural franchises like Lord of the Rings, Star Wars, and Game of Thrones, Wagner himself feels culturally marginal today. Ironically, many of these franchises wouldn’t exist without his influence.
In our current context, bombastic white-male-supremacist art created by a megalomaniac known for his antisemitism seems unnecessary. Especially in the midst of a cost-of-living crisis, do we really need multimillion-pound productions with hydraulic sets and mechanical dragons? Instead, we can turn to YouTube and watch Lego figurines act out the drama or attend a postcolonial reinterpretation of the Ring cycle staged in a Putney church by the London-based arts collective Gafa. We could even ask unconventional opera director Peter Sellars to update his puppet Ring cycle, which he created as an undergraduate.
Even though Wagner may be out of touch with modern sentiments, he believed he was presenting deep and unified cultural truths that could change the way we live. According to Wagner scholar Michael Tanner, he felt a drastic step was necessary to revolutionize people’s lives and their demands on life. Otherwise, they would settle for less fulfilling existences. Playwright George Bernard Shaw saw the Ring cycle as an allegory of the collapse of capitalism, but its interpretations are endless. It can be seen as a Third Reich allegory, a sado-masochistic critique of the wealthy, or a Buddhist-inspired music drama signifying the death of the ego.
The new Ring cycle at the Royal Opera House aims to bring a fresh perspective. Director Barrie Kosky has incorporated ecological themes and addressed the previous Ring cycle’s antisemitism. It is safe to say that audiences will witness a very different production than what premiered in 1876.
Wagner’s original productions were known for his direct involvement and control. He would rush on stage to guide singers and inject dramatic fire into their performances. The enthralled audience left with the word “Herrlich” on their lips, which means “glorious.” This demonstrates how Wagner demanded excellence and commitment from all involved.
The Ring cycle has had its share of controversial productions. The Jahrhundert Ring cycle by Patrice Chéreau and Pierre Boulez targeted bourgeois ticket holders and caused uproar and booing. But Wagner might have appreciated such a reception. Das Rheingold portrays a corrupt primal world, challenging the central myth of Western culture. Wagner believed that power and libido were the driving forces of this world.
The Chéreau-Boulez production of the Ring cycle is now considered a classic, while Robert Lepage’s 2010 New York production faced harsh criticism. Lepage’s set, a rack of 24 planks, was plagued with technical issues. The contraption squeaked throughout the performance, offering perhaps ironic commentary on how capitalist mechanization has ruined opera.
In the end, whatever Antonio Pappano and Barrie Kosky deliver in their Ring cycle will surely be a departure from tradition. Wagner’s art form continues to evolve and adapt to the contemporary world. As an audience, we must bring our A-game and never settle for mediocrity. After all, Wagner believed in pushing boundaries and transforming consciousness through his music dramas.
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