PARIS — As he took a moment to reflect in a café near the Opéra Bastille, Calixto Bieito was full of mixed emotions ahead of the premiere of his adaptation of Wagner’s Ring Cycle, scheduled for the next day. He expressed both uncertainty and conviction, citing his complex feelings about the production.
Once known for his controversial and provocative interpretations saturated with sexual and violent themes, Bieito, now at 61, has evolved from a rebellious young director to a figure of significant cultural stature. His current staging of “Das Rheingold,” which plays until February 19, embraces modern motifs including cryptocurrency to symbolize gold, a labyrinth of cables, and a zombie-like character named Gisela, brought to life using Artificial Intelligence. The character portrayal extends to familiar figures: Donner, the thunder god, sports a Los Angeles Dodgers cap, while the Rhinemaidens are dressed in scuba gear complete with oxygen tanks. Bieito’s creative flair is evident in how he reimagines traditional roles, such as depicting the giant Fafner in cowboy attire and portraying Freia, the goddess of love, covered in oil as she seeks destruction from Loge, the god of fire. A striking visual element also includes five monitors arranged in a cruciform pattern, with the magical helmet Tarnhelm resembling a piece by Basquiat and the ring interpreted as a noose.
The opening performance on January 29 received applause as smoke billowed through the auditorium when Wotan graced Valhalla. Yet, Bieito and his team opted out of the curtain call, leaving the audience to contemplate their reaction to the bold direction. Rather than seeking validation through quick accolades, Bieito plans to wait until his complete vision of the Ring is realized with future presentations planned for November 2026, knowing he will likely introduce further changes.
Bieito emphasized his preference to approach the material from a distinctly human perspective rather than solely through mythological lenses. He likened the current societal climate to the era of Caligula who claimed divinity, suggesting a need for new myth-making.
Bieito, who first gained notoriety in 1999 with a provocative rendition of Bizet’s “Carmen” that featured a striking visual of an actor suspended from a pole, continued to challenge conventions. His designs for Verdi’s “Un Ballo in Maschera” exhibited men on toilets reading newspapers, and his take on “Don Giovanni” in 2001 included a scandalous portrayal of the titular character. Even in later productions, such as his 2004 adaptation of “Die Entführung aus dem Serail,” he pushed boundaries, resulting in reactions that sometimes bordered on hostility.
Despite early backlash, Bieito’s works have solidified a place in many prominent European opera houses. Paris Opéra’s General Director Alexander Neef praised Bieito’s adaptive process, noting his capacity to evolve his concepts significantly during rehearsals.
A decade in the making, Bieito’s current production was significantly reworked due to the pandemic’s disruption of the original timeline. He reconnected with core concepts influenced by James Bridle’s “New Dark Age: Technology and the End of the Future,” envisioning thematic arcs that will flow throughout the entire Ring cycle including the implications of AI’s influence on warfare and a cinematic exploration of consciousness.
Bieito’s creative process was also inspired by a visit to the moors of Haworth, England, home to the Brontë sisters, illustrating his desire to play into the emotional atmosphere of the Ring. He reflects upon a society where traditional deities appear obsolete, asserting that humans must confront the reality of their own god-like creations in technology.
Born in Spain’s Basque region and benefitting from a Jesuit education, Bieito has established himself within Basel, Switzerland, after serving as an artist in residence. Stéphane Lissner, Neef’s predecessor, brought him onboard for the Ring after witnessing his directorial prowess in Shakespeare’s “King Lear.”
Colleagues in the field recognize the unique impact Bieito has on the rehearsal process. Bettina Auer, a dramaturg, described his creativity as characterized by freedom, intensity, and a deep sense of artistic responsibility. Similarly, Lydia Steier, an American director who trained in Germany, recalls how Bieito’s work on “The Abduction from the Seraglio” inspired her own career.
Shedding light on Bieito’s methods, countertenor Anthony Roth Costanzo stated that Bieito’s lack of a predetermined path is a vital trait of his artistry, facilitating an environment in which performers can explore their roles’ nuances.
With interpretations being left open even for the cast, performers enrich the production with their inquiries. For instance, Brian Mulligan, portraying Alberich, engaged Bieito by questioning the significance of an image projected during the opening sequence, to which Bieito offered a playful response by leaving the meaning open-ended.
