Richard Wagner’s monumental opera series, ‘Der Ring des Nibelungen,’ is an epic undertaking from any perspective.
Often compared to a marathon, this operatic saga can span up to 19 hours over four nights, testing the limits of its numerous singers, musicians, and the unwavering conductor and director. Audiences, too, find their endurance challenged — perhaps a quadruple cappuccino is in order!
For the first time in over ten years, Milan’s prestigious Teatro alla Scala is unveiling a brand-new production of the ‘Ring’ cycle. This ambitious 15-month journey began in October 2024 with ‘Das Rheingold,’ followed by ‘Die Walküre’ and ‘Siegfried’ earlier this year. The grand finale, ‘Götterdämmerung,’ is set for five performances in February.
Pictured here is Simone Young, 64, one of two conductors leading Teatro alla Scala’s new ‘Ring’ cycle. She shares the podium with Alexander Soddy, 42, who was once her mentee; both are seasoned Wagnerian maestros.
In March, two complete ‘Ring’ cycles will commemorate the 150th anniversary of their original staging as a tetralogy in 1876 at the renowned Bayreuth Festival, an annual summer celebration of Wagner’s works.
‘Götterdämmerung,’ a five-hour epic, is often considered both the most challenging and the most gratifying of the four operas. It weaves a tale of Norse gods and mythical creatures clashing with human characters, whose all-too-familiar flaws drive a narrative that began with the theft of gold from the Rhine.
The podium will be shared by two distinguished conductors: Simone Young, 64, who made history in 2024 as the first woman to conduct the ‘Ring’ at Bayreuth (and returned this summer), and her former mentee, Alexander Soddy, 42, also a seasoned Wagnerian. They step in for Christian Thielemann, who had to withdraw from the remaining performances and cycles due to tendon surgery and a prolonged recovery.
Michael Volle performing in ‘Die Walküre,’ the second of the four German-language operas that make up Richard Wagner’s ‘Ring’ cycle. His powerful presence brings one of the German-language masterpieces to life.
Alexander Soddy will lead ‘Götterdämmerung’ on February 1, 4, and 8, while Simone Young will take the baton on February 12 and 17. Soddy is scheduled to conduct the first full ‘Ring’ from March 1-7, with Young leading the second from March 10-15.
Conductors Simone Young and Alexander Soddy, seen here, bring a shared perspective to the ‘Ring’ cycle, stemming from their early experiences mastering Wagner’s complex scores at the piano.
For Young, the influence of two legendary Wagnerian interpreters — Daniel Barenboim, who conducted La Scala’s last ‘Ring’ in 2013, and Wilhelm Furtwängler — will deeply inform this 2026 production.
“Thirty-four years ago, I assisted Daniel Barenboim at Bayreuth, and two decades later, Alexander was my assistant in Hamburg. Daniel himself gained much from Furtwängler,” Young revealed in a video interview, emphasizing the ongoing ‘generational passing on of the flame’ in Wagnerian tradition.
Young and Soddy’s shared musical foundation stems from their initial encounters with Wagner’s music: at the piano.
“We both began our careers as répétiteurs—pianists in the rehearsal room tasked with making the piano sound like a full orchestra,” she explained. “This background translates into an artist who meticulously crafts complex musical textures and colors, ensuring every detail is present.”
Both conductors also prioritize the text, which, especially in Wagner’s works, fundamentally shapes the musical interpretation. Young elaborated: if a word carries a short vowel and many consonants, these sonic elements must be distinctly heard. The orchestra’s sound should sustain through the vowel and then precisely conclude as the consonants articulate.
From ‘Das Rheingold,’ the first of the four operas that comprise the ‘Ring’ cycle. Depending on the staging, the entire production can run up to 19 hours over four evenings.
Soddy’s passion for mastering Wagner originates from his early days with Young and a profound desire to comprehend Wagner’s rich scores on both a musical and linguistic level.
He recalled in a video interview how Young had been a pivotal inspiration when their paths first converged.
“At 21, I was incredibly lucky to become a pianist at the Hamburg State Opera, which is when Simone arrived and we first connected,” Soddy recounted. “She profoundly influenced me musically; she thought about language and music in a way I had always aspired to.”
After their formative years as répétiteurs, both immersed themselves in Wagner, discovering that countless hours at the piano provided unparalleled insight into the ‘Ring’s’ profound complexities.
“What truly stands out is the sheer density of musical ideas and the genius required to not only conceive these motifs but to interweave them into a coherent and meaningful tapestry,” Soddy explained. “You feel a sense of absolute mastery. Even the first act of ‘Götterdämmerung,’ nearly two hours long, is structurally so clear and emotionally resonant. It’s a magnificent journey.”
For David McVicar, who serves as both director and set designer (alongside Hannah Postlethwaite), this particular ‘Ring’ production marks his debut journey into Wagner’s epic.
“One is never truly finished with the ‘Ring’ because of its immense complexity, vast thematic scope, and the multitude of interpretations it invites,” McVicar stated in a video interview. “My aim for this production was a deep connection to the music, as many ‘Ring’ stagings I’ve witnessed treat the score merely as a soundtrack. For me, the music is paramount.”
From ‘Siegfried,’ the third opera in the ‘Ring’ cycle. Director and set designer David McVicar noted that the work’s inherent complexity ensures ‘we’re never, ever finished with the ‘Ring’.’
McVicar has collaborated on this cycle with leading Wagnerian vocalists, including Klaus Florian Vogt, Michael Volle, and Camilla Nylund. While critics have lauded the productions for their exceptional singing and musical transparency, some have found the staging to be more traditional than provocative.
Nevertheless, McVicar defended his staging as a conscious decision to highlight the music and libretto, inviting audiences to discover deeper meaning beyond superficial theatricality.
“My intention was to create ample space for the audience’s intellectual engagement,” McVicar explained. “To prompt questions like: What is truly being conveyed here? What is unfolding beneath the surface? No single interpreter can fully grasp all that is woven into this work. Even Wagner himself, upon its 1876 premiere, felt he had tragically failed to encapsulate his full vision.”
The allure and enigma of Wagner’s ‘Ring’ continue to captivate all who dare to approach this monumental work. As it nears its 150th anniversary, celebrated as the pinnacle of operatic art, the composer himself—revered for his brilliance yet criticized for his controversial views and fierce competitive nature—remains an enduring mystery.
“While I despise Wagner the man, I profoundly admire him as an artist,” McVicar confessed. “Perhaps this paradox fuels my intrigue. He is a universal figure, embodying both the loftiest and the darkest aspects of the human spirit.”