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The Royal Opera

  • Jakub Hrůša

    Music Director Designate

  • Oliver Mears

    Director of Opera

Die Walküre

MUSIC DRAMA IN THREE ACTS

Sunday 4 May 2025 3pm

The 235th performance by The Royal Opera at the Royal Opera House.

Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

Approximate Timings

The performance will last approximately 5 hours and 35 minutes, including two intervals

  • Act I

    65 minutes

  • Interval

    25 minutes

  • Act II

    90 minutes

  • Interval

    80 minutes

  • Act III

    75 minutes


Credits

  • Music

    Richard Wagner

  • Libretto

    Richard Wagner

  • Conductor

    Antonio Pappano

  • Director

    Barrie Kosky

  • Set designer

    Rufus Didwiszus

  • Costume designer

    Victoria Behr

  • Lighting designer

    Alessandro Carletti

Cast

  • Wotan

    Christopher Maltman

  • Brünnhilde

    Elisabet Strid

  • Sieglinde

    Natalya Romaniw

    replaces Lise Davidsen

  • Siegmund

    Stanislas de Barbeyrac

  • Fricka

    Marina Prudenskaya

  • Hunding

    Soloman Howard

  • Helmwige

    Maida Hundeling

  • Ortlinde

    Katie Lowe

  • Gerhilde

    Lee Bisset

  • Waltraute

    Claire Barnett-Jones

  • Siegrune

    Catherine Carby

  • Rossweisse

    Alison Kettlewell

  • Grimgerde

    Monika-Evelin Liiv

  • Schwertleite

    Rhonda Browne

  • Actors

    Illona Linthwaite

    Lucy Brenchley

    Clea Godsill

    Maria Leon

    Virginia Poli

    Nadia Sadiq

    Jay Yule

Orchestra

  • Orchestra

    Orchestra of the Royal Opera House

  • Concert Master

    Magnus Johnston

Production credits

  • Music preparation

    Christopher Willis

    Edward Reeve

    Patrick Milne

    Susanna Stranders

  • Assistant Directors

    Simon Iorio

    Johannes Stepanek

    Ruth Knight

  • Fight Director

    Philip D’Orléans

  • Assistant to the Set Designer

    Jan Freese

  • Intimacy Co-ordinator

    Anna Morrissey

  • Language Coach

    Franziska Roth

The Royal Opera

  • Patron

    HM The King

  • Music Director Designate

    Jakub Hrůša

  • Director of Opera

    Oliver Mears

  • Director of Casting

    Peter Mario Katona

  • Associate Director

    Netia Jones

  • Administrative Director

    Cormac Simms

Synopsis

ACT I

A storm rages as a weary man takes shelter in the home of Sieglinde and her husband, Hunding. After receiving hospitality, the stranger, who is wounded and unarmed, shares his tragic story of loss and misfortune. Hunding recognises the stranger’s tale as that of his slain kinsmen and challenges him to a fight the next morning.Alone, the stranger recalls the sword his father once promised he would find in his hour of greatest need. Sieglinde appears and recounts how, at her enforced wedding to Hunding, a stranger appeared and thrust a sword into the tree trunk. No one has been able to pull it out. Sieglinde and the stranger pledge themselves to one another and the stranger asks Sieglinde to rename him. Discovering his father’s name was Wälse, Sieglinde is convinced the stranger is her twin. She names him Siegmund. Siegmund removes the sword, Nothung, from the tree, and claims Sieglinde as both bride and sister. Ecstatically and defiantly they declare their love.INTERVALACT IIWotan orders Brünnhilde, his favourite Valkyrie daughter, to ensure Siegmund defeats Hunding in battle. However, Fricka, Wotan’s wife, demands justice for the incestuous relationship between Siegmund and Sieglinde, claiming it violates marriage laws. Wotan defends their love, arguing that Siegmund can carry out the deeds he and Fricka cannot. Fricka points out that Siegmund is dependent on Wotan’s sword and protection, and therefore not truly independent. Defeated, Wotan promises that neither he nor Brünnhilde will protect Siegmund.Wotan, despairing, confides in Brünnhilde about his past, revealing his theft of the ring from Alberich. He explains that Brünnhilde and her Valkyrie half-sisters were created to protect Wotan, and that his plan to retrieve the ring from the giant Fafner is now at risk, as he needs a free agent to act on his behalf. Wotan instructs Brünnhilde not to protect Siegmund, threatening dire consequences if she disobeys.Siegmund and Sieglinde flee from Hunding. Brünnhilde tells Siegmund he will die in battle but will be honoured in Valhalla. Siegmund refuses to leave Sieglinde and their unborn child. Moved by compassion, Brünnhilde promises to protect him. Hunding’s horn signals his arrival. Brünnhilde tries to help Siegmund, but Wotan shatters his sword with his spear, leading to Siegmund’s death. Brünnhilde escapes with Sieglinde, and Wotan kills Hunding, vowing to punish Brünnhilde.INTERVALACT IIIThe Valkyries gather dead warriors for Valhalla. Brünnhilde arrives with the mortal Sieglinde, shocking the Valkyries. Brünnhilde begs for their help to protect her and Sieglinde from Wotan. Initially hesitant, the Valkyries agree when Brünnhilde reveals Sieglinde is carrying Siegmund’s child, who will be a great hero. They advise Sieglinde to flee to the forest, where Fafner guards the Nibelung hoard, and she takes the fragments of Siegmund’s sword with her.Wotan arrives and, despite the Valkyries’ pleas, angrily banishes Brünnhilde from Valhalla for disobedience. He condemns her to mortal sleep until a mortal man awakens her. The Valkyries scatter in fear when Wotan threatens them with the same fate.Brünnhilde asks Wotan if her compassion for Siegmund and Sieglinde deserves such punishment. She believed it aligned with his true desires. Wotan remains unforgiving, even when she tells him that a Wälsung hero will be born to Sieglinde. In her final plea, Brünnhilde asks for a ring of fire to surround her so only a worthy hero can awaken her. Wotan, moved by his feelings for her, agrees and calls upon Loge to create the flames.

Guidance

Suitable for ages 12+

This opera contains themes of incest and domestic violence. This production contains scenes of nudity and depictions of blood, violence and death. Strobe lighting is used during Act I. Pyrotechnics are used during Act III.

Language

Sung in German with English surtitles. Captions and translations in English will be displayed on screens above the stage and around the auditorium.

Generous support from

Further information

DIGITAL CAST SHEETS

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

GUIDELINES

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

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