If you have been following this saga from the beginning you have probably already concluded that Herheim’s approach is radical in some ways and very, very detail oriented.  If anything, in Götterdämmerung, it gets denser and more complex with some of the central production features used in somewhat different ways.  It’s also spectacular.  Not least because of the contributions of lighting designer Ulrich Niepel and video designer Torge Møller.  They were important contributors to the first three operas.  Here they are even more crucial.  This opera also has more going on across the full width of the stage more of the time so it’s actually much harder to film.  So let’s get into it.

Continue reading →