Otto Schenk, a prominent actor and esteemed director who gained recognition for his traditional approach to opera while facing criticism for resisting contemporary styles, passed away on Thursday at the age of 94.

Schenk resided in Austria, with his death recently confirmed by the Vienna State Opera.

Over his illustrious career, Schenk created a total of 31 productions at the Vienna State Opera, starting with Janá?ek’s “Jen?fa” in 1964 and culminating with “The Cunning Little Vixen” in 2014. Several of his works continue to be performed, notably a production of Johann Strauss II’s “Die Fledermaus,” originally staged in 1979, which gained international attention via streaming on New Year’s Eve.

The Vienna State Opera’s Director Bogdan Roš?i? reflected on Schenk’s significance, stating, “Otto Schenk is an essential, unforgettable chapter in the history of our theater. He has shaped the world of theater for half a century like few others. His sacred connection with the theater combined with a fearless and natural approach to the works demonstrates his profound expertise and immense love for singers, which was paired with his rigorous rehearsal process and honesty.”

Schenk also left his mark on New York’s Metropolitan Opera, directing 16 productions from 1968’s Puccini’s “Tosca” to Donizetti’s “Don Pasquale” in 1996. Noteworthy is his staging of Wagner’s epic “Der Ring des Nibelungen,” which premiered in four parts between 1986 and 1989 and was later performed in 20 complete cycles from 1989 through 2009. The production was even broadcast on public television in 1990, leading to a standing ovation for Schenk during the curtain call after a performance of “Siegfried” on April 18, 2009.

Schenk’s romantic and realistic staging was renowned, with set designer Günther Schneider-Siemssen creating vivid landscapes that included a river, forest, and mountainous backdrops in rich greens and oranges. Complemented by costumes from Rolf Langenfass, his vision paid homage to the original 1876 Bayreuth Festival’s Ring, contrasting sharply with Patrice Chéreau’s industrial-themed interpretation in 1976, which was often viewed through a Marxist lens.

Reflecting on his creative intentions, Schenk once stated in a 1989 interview, “I wanted to tell a romantic old story, like starting with ‘Once upon a time.’ The audience should uncover the secrets of Wagner’s Ring for themselves.”

A native of Vienna, Schenk attended the University of Music and Performing Arts in Vienna, where he studied acting. He began his directing career in 1953 and helmed his first opera, Mozart’s “Die Zauberflöte (The Magic Flute),” at Salzburg’s State Theatre in 1957. From 1950 to 1997, he performed 237 times at the Salzburg Festival and led the drama division from 1986 to 1988.

Current artistic director of the Salzburg Festival, Markus Hinterhäuser, remarked on the loss, stating, “The theater world has lost one of its greatest phenomena, an exceptional artist, a real legend.”

At the Met, Schenk’s productions received acclaim, particularly his versions of Offenbach’s “Les Contes d’Hoffmann” and Wagner’s “Tannhäuser” in 1977. His expertise led to his selection by Met artistic director James Levine to direct a new Ring Cycle, along with Wagner’s “Parsifal” in 1991 and “Die Meistersinger von Nürnberg” in 1993.

The New York Times critic Donal Henahan commented on the Met’s staging of Wagner’s works, stating, “At a time when many new productions of ‘Der Ring des Nibelungen’ might be described as ‘Der Ringling des Barnum und Bailey,’ the Metropolitan Opera’s interpretation has brought into question whether perhaps the composer understood his own vision best.” He noted the controversy surrounding traditional productions, with terms like ‘conventional’ and ‘regressive’ often used to describe them, asserting that honoring the original works serves as a valuable counterpoint to radical reinterpretations.

Schenk’s legacy alongside Franco Zeffirelli played a pivotal role in guiding the Met for several decades, as confirmed by Met general manager Peter Gelb, who noted the Ring’s impact when PBS aired it nationally over four consecutive nights.

Despite the layers often debated within Wagner’s work, Schenk maintained a straightforward perspective, stating, “Wagner in his life gave no indication of what the Ring meant. He didn’t interpret.”