Der Ring des Nibelungen

In the organizer's words:

The Norse gods have exploited their power for too long and now it seems time to step down. Their downfall is imminent! While old Wotan clings to his throne with all his might once again, an alliance of the powerless is already forming far away: the exploited, the ugly, the lonely and abandoned, the daughters for whom there is no room - and all those who have never heard of Wagner. The result is Wagner's Ring of the Nibelung, but without a word from Wagner. A Ring in which others have their say: The primordial mother Erda. The dwarf Alberich. The Valkyrie and Wotan's favorite daughter Brünhilde. His wife Fricka. The children of the giants who once built Valhalla and were robbed of their wages. But Wotan also makes one last grand entrance. And from an unexpected source, we finally learn what really happened with the dragon. Quite differently, of course ...

With The Ring of the Nibelung, Richard Wagner wanted to give the Germans their own myth. Necati Öziri corrects what is perhaps the most "German" of all Gesamtkunstwerke and asks: Is there a new word for "we"? One that does not mean the lowest common denominator? And are "we" really living in the golden twenties again, which come before the thirties? After her youthful, atmospheric and visually powerful interpretation of Euripides' Bacchae, Julia Wissert devotes herself to a new reading of another canonical work and asks what it means today - a substantive and musical examination of Wagner's work and the most German of myths. Can a new story be written from the old? And what can it look like?