During the fall performances of Das Rheingold (repeating in March), acrobats stand in for singers to traverse the planks that are raised up above the stage and rotated by computer into fanlike steps.
Stage design is typically an ephemeral art. Environments appear substantial, but they are often masterful imitations of the real thing made with lightweight, durable materials capable of continual setups and breakdowns. Enter Canadian director Robert Lepage, whose new production of Richard Wagner’s Ring cycle for New York City’s Metropolitan Opera literally revolves around a singular architectural conceit.
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