The Opéra de Monte-Carlo has embarked on a bold artistic journey with its recent production of Richard Wagner’s “Die Walküre,” set to run in March 2026. This performance is part of a four-year initiative to present Wagner’s complete “Der Ring des Nibelungen,” featuring a fresh interpretation by director Davide Livermore and the period-instrument ensemble Les Musiciens du Prince.
Livermore’s staging introduces a striking visual experience that contrasts traditional operatic elements with modern technology. The production is marked by large-scale video projections crafted by Livermore’s digital design company, D-Wok. Each act begins with a captivating scene where a child version of a principal character writes a phrase on paper, which is then transformed into a paper airplane. For instance, before the first act, young Wotan scribbles, “Who’s afraid of the big bad wolf?” This framing suggests a whimsical interpretation of the opera as a fantasy game, culminating in a poignant moment where, surrounded by fire, child Wotan wonders, “What will we play now?”
The visual motif of airplanes is prominent, with a World War II-era aircraft appearing during the storm music of Act one. The plane struggles against the tempest, only to be struck by lightning, symbolizing the chaos that engulfs the characters. This imagery reappears throughout the opera, alongside the empty grandeur of the Salle Garnier, which serves as a backdrop for significant moments, leaving its interpretive meaning open to the audience.
The use of child doubles for main characters enhances the narrative’s temporal complexity. For example, Brünnhilde is often accompanied by silent actresses, representing her child self and a statue. This technique deepens the emotional impact of the drama, with the characters’ costumes hinting at a World War II aesthetic while retaining elements of the traditional operatic wardrobe.
A last-minute substitution brought Daniel Scofield into the role of Wotan, following the withdrawal of Matthias Goerne. Scofield’s performance was nothing short of remarkable, showcasing strong vocal ability and dramatic presence. Despite his limited prior experience in the role, he exhibited a commanding stage presence, effectively conveying Wotan’s emotional range from authority to paternal tenderness. His delivery of pivotal moments, particularly in the confrontation with Brünnhilde, displayed both intensity and clarity.
Nancy Weissbach delivered a compelling interpretation of Brünnhilde, evolving from youthful exuberance to a more profound emotional depth as the opera progressed. Her powerful rendition of “Hier bin ich, Vater: gebiete die Strafe!” resonated with dramatic conviction, despite some challenges with her higher notes.
The performances of Libby Sokolowski and Joachim Bäckström as the tragic lovers Sieglinde and Siegmund added a poignant layer to the narrative, their portrayal as older characters heightening the sense of loss. The formidable bass voice of Wilhelm Schwinghammer as Hunding contrasted effectively with the other characters, while mezzo-soprano Ekaterina Semenchuk made a strong impression as Fricka, particularly in her powerful confrontations with Wotan.
Under the baton of Gianluca Capuano, the production features a period-instrument orchestra, a first for a fully staged “Ring” opera. The brisk tempos contributed to maintaining dramatic tension throughout, with the orchestra’s sound providing a unique balance that complemented the vocalists. The musicians demonstrated exceptional skill, creating a rich tapestry of sound that included notable solo performances from various instrumentalists.
The Opéra de Monte-Carlo’s innovative approach to Wagner’s work, characterized by its use of period instruments and modern staging techniques, presents a compelling alternative to traditional interpretations. As the company continues its ambitious project, the upcoming performances promise to further explore the depths of Wagner’s operatic masterpiece.
