The Paris Opera recently presented Calixto Bieito’s staging of *Götterdämmerung*, the final opera in his new production of Wagner’s *Ring* cycle, with the full cycle scheduled for performance next month. The production has drawn mixed reactions, combining striking musical performances with a controversial and minimalistic visual approach.

A notable and unusual element of the staging is a moment toward the end where the character Hagen collects forks from a dinner table and repeatedly drives them into the dying Siegfried’s torso. This striking image has been highlighted as emblematic of Bieito’s directorial choices, which some critics found puzzling or excessive. Hagen’s portrayal as a sociopath is clear, though observers suggested that his character might not have required such a literal and eccentric physical device to convey his nature.

The chorus plays a diminished role in this production, standing in dim light and singing directly to the audience rather than interacting with the unfolding story. This approach contrasts with Bieito’s previous work, where choristers were given detailed characterization to evoke complex societal dynamics. The pared-back chorus role has prompted commentary about a lack of character development and missed opportunities to enhance the narrative layers of the opera.

Bieito’s staging incorporates an eclectic mix of visual references. The Norns, who open the opera with prophecies, wear Victorian clothing and use a Jacquard loom, an early form of computer programming technology, to symbolize fate or destiny. Meanwhile, the Gibich family is depicted as wealthy and incestuous, a detail consistent with Wagnerian tradition. The Rhinemaidens appear as artificial “Stepford wives,” dressed for a formal ball, and video projections display a series of shifting images including churches, control centers, and a slowly rotating orange chandelier. These elements offer various symbolic or abstract associations, though their overall narrative coherence has been questioned.

The context surrounding the opera’s staging also added resonance. On the evening of the performance, protests took place near the Place de la Bastille, with students demonstrating and clashes involving riot police using water cannons and tear gas. Audience members reportedly coughed more than usual during the music’s start, underscoring the charged atmosphere outside the theatre.

Musically, the production received widespread acclaim. Conductor Pablo Heras-Casado was praised for eliciting exquisite playing from the orchestra, noted for a departure from traditional Germanic austerity toward a richer, more sensuous sound marked by warmth and colour. The cast was similarly applauded; Tamara Wilson’s Brünnhilde was described as fearless, Andreas Schager’s Siegfried as untiring, and Mika Kares’ Hagen as compelling despite the staging choices. Reviewers emphasized that the singers brought depth and coherence to their performances, compensating for the more uneven dramatic elements on stage.

In sum, Bieito’s *Götterdämmerung* at the Paris Opera has been seen as a musically rewarding yet theatrically challenging production, juxtaposing refined orchestral and vocal work with a provocative and occasionally perplexing visual narrative.