Calgary Opera is preparing to deliver an extraordinary experience with Richard Wagner’s opera, Das Rheingold, set to grace the stage of the Southern Alberta Jubilee Auditorium in April.

Concluding the Calgary Opera season, Das Rheingold features debut performances by acclaimed Wagnerian baritone James Rutherford and mezzo-soprano Jill Grove.

Das Rheingold promises to take viewers on a journey into a world filled with gods, giants, and dwarves entangled in a grand conflict of power and love that the Broadway world has called “visually spectacular and undeniably thought-provoking.” 

“Fans of Game of Thrones, Star Wars, and The Lord of the Rings, gamers who love The Elder Scrolls V: Skyrim, Max Payne, and Too Human, and Calgary Expo cosplayers will feel right at home at a performance of Das Rheingold,” said Sue Elliott, Calgary Opera’s General Director and CEO in a prepared press release.

“Escape with us to a world of gods, giants, and dwarves fighting over magic apples and golden rings, in a timeless tale of power versus love. It’s a must-see music drama, an all-encompassing experience unlike any other.”

The opera is on stage with performances on April 20, 24, and 26.  

Tickets are from $40 and are available at www.calgaryopera.com

Adding a local flavour to the production, soloists with close ties to Calgary will be taking center stage. 

Gordon Geitz, who cut his teeth in the Calgary Opera chorus, steps into the role of Mime. Soprano Anna Pompeeva, now based in Calgary after relocating from Ukraine, portrays Freia, marking a return to the professional opera scene.  

“This is my first serious performance here in Canada. When the war started, I left my place where I lived and from that time I didn’t have the possibility to sing in performances,” said Pompeeva.

“This role was created to be mine.”

The set creates a 3D effect on stage

Das Rheingold is conducted by Jonathan Brandani and directed by Brian Stafuenbiel, along with projections crafted by David Murakami and costumes designed by Matthew LeFebvre. 

 “I think one of the other things about this particular set design which is unusual, is that the singers are right on the edge next to the audience,” said Stafuenbiel.

“It creates a kind of intimacy that’s quite unusual and it’s been very successful as we’ve presented it in other places.”

The use of rear and front projections creates a three-dimensional effect on stage, allowing the story to come to life. 

“By having rear projection and front screen projection with artists and singers inside the space between those two environments creates a three-dimensional quality when we’re projecting on the front and the back with people inside,” said Stafuenbiel. 

“Then just using the projections to help the story. The Dragon is projected, Valhalla is projected and also some environments from the underworld including water effects and things of that nature.”

The orchestra pit doubles as part of the performance space, allowing performers to tell the story from a unique vantage point. This arrangement provides nearly 70 feet of space along with a bridge suspended above, said Stafuenbiel. 

“I think it is the perfect opera for young people, especially young people and people who have never been to an opera,” said Stafuenbiel. 

“It’s a story that I think they’ll enjoy and it’s worth taking the risk.”