In Götterdämmerung, Siegfried takes leave of Brünnhilde to travel the world and accomplish new feats. These will be his last: during his journey along the Rhine, he falls victim to a sinister plot hatched by Alberich and his son Hagen. The downfall of the gods is now inevitable... Bringing the Ring cycle to a close with Götterdämmerung, its most metaphysical chapter, Richard Wagner unleashes music as blazing as the pyre on which Brünnhilde immolates herself. Emotion runs equally high, as in Siegfried’s Funeral March, one of the score’s most striking orchestral passages.Premiered in 1876 at the inaugural Bayreuth Festival, the work is presented here in a production by Calixto Bieito, thus concluding his vision of the Ring Cycle for the Paris Opera, begun in 2025.

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Le Crépuscule des dieux - FR

Le Crépuscule des dieux - EN

26-27

In Götterdämmerung, Siegfried takes leave of Brünnhilde to travel the world and accomplish new feats. These will be his last: during his journey along the Rhine, he falls victim to a sinister plot hatched by Alberich and his son Hagen. The downfall o

Richard Wagner

Götterdämmerung (RING Festival)

Born in May 22, 1813 in Leipzig, Richard Wagner developed, at a young age, a passion for the theatre art. Influenced by Weber and Beethoven he chose nevertheless to start a career as a composer. His first opera The Fairies was not performed until after his death while his second one, The Ban on Love (1835), was a failure. He spent three years in Paris where he achieved Rienzi and The Flying Dutchman, and was then appointed Kapellmeister at the Royal Saxon Court, where he staged Tannhäuser in 1845. But his involvement in the left-wing May revolution prevented the creation of Lohengrin in Dresden and even forced him into exile in Switzerland. There, he started to work on Der Ring des Nibelungen, a project he began a year earlier. It took him more than twenty years to achieve the cycle, as he was interrupted for a long period by the writing of Tristan and Isolde and The Master Singers of Nuremberg. With the support of Ludwig II of Bavaria, who idolized Wagner, many of his works were staged in Munich. In 1871, Wagner commissioned a theatre of his design in Bayreuth dedicated to the performance of his works. There, in 1876, was created the complete cycle of Der Ring des Nibelungen as well as Parsifal, in 1882, his last opera and artistic legacy. Wagner died in 1883 in Venice following an angina pectoris.

Andreas Schager studied at the University of Music and Performing Arts Vienna, beginning his career performing operettas and Mozart repertoire before turning to Wagner and Strauss. He made his debut at the Tirol Festival Erl in 2009 as David in Die Meistersinger von Nürnberg and gained international recognition in the role of Siegfried in Götterdämmerung under the baton of Daniel Barenboim at the Staatsoper Unter den Linden in Berlin, the BBC Proms in London, and Teatro alla Scala in Milan.He has performed the roles of Florestan in Fidelio in Berlin, Tristan in Tristan und Isolde in Monte Carlo, and the title roles of Parsifal in Berlin and Bayreuth, Tannhäuser in New York, Otello in Vienna, and Siegfried in Vienna, Berlin, and London.On the concert platform, he has performed major works by Beethoven, Schoenberg, and Mahler. During the 2026–2027 season, his engagements include the title role in Tannhäuser in Berlin, Tristan in Vienna, and Siegfried in Wagner's Ring cycle at the Paris Opera. In June 2025, he was awarded the title of Kammersänger in Austria.At the Paris Opera: Parsifal (title role, 2018); Tristan und Isolde (Tristan, 2018); Götterdämmerung (Siegfried, 2020); Siegfried (title role, 2020, 2026).

Schager.Andreas

Born in Augsburg, Johannes Martin Kränzle studied at the Frankfurt Academy of Music. In 1998, he joined the ensemble of Oper Frankfurt, where he performed a wide-ranging repertoire. He has appeared on the world’s leading opera stages and at the Salzburg, Bayreuth, and Bregenz Festivals.In recent seasons, his roles have included Don Alfonso (Così fan tutte) in London and Munich; Beckmesser (Die Meistersinger von Nürnberg) at the Bayreuth Festival; the title role in Don Pasquale at Opernhaus Zürich; Don Pizarro (Fidelio) in Toronto; Papageno (Die Zauberflöte) in Wiesbaden; Alberich (Der Ring des Nibelungen) in Berlin; the Mad King (Eight Songs for a Mad King) at the Aix-en-Provence Festival; Leporello (Don Giovanni) in Augsburg; Peter (Hänsel und Gretel) in Darmstadt; the title role in Wozzeck in Vienna; and Bartolo (Il barbiere di Siviglia) in Hamburg. He will perform Don Alfonso at the Salzburg Festival in 2026. During the 2026–2027 season, he will appear as Allazim (Zaide) at the Opéra Comique, Don Pizarro in Baden-Baden, and the title role in Don Pasquale in Zurich.At the Paris Opera: Wozzeck (title role, 2017); Iolanta (Ibn Hakia, 2019); Götterdämmerung (Gunther, 2020).

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A graduate of the Juilliard School, Brian Mulligan is renowned for his interpretations of the classical repertoire, Wagner and Strauss, as well as some of the most demanding works of the 20th and 21st centuries. In recent seasons, he has made notable debuts as Telramund in Lohengrin at the San Francisco Opera and as Barak in Die Frau ohne Schatten at the Théâtre du Capitole in Toulouse.He has sung Wotan in Die Walküre with the Rotterdam Philharmonic Orchestra; the Dutchman in Der fliegende Holländer in Turin; Jochanaan in Salome in Amsterdam; Mandryka in Arabella and Amfortas in Parsifal in San Francisco; Kurwenal in Tristan und Isolde in Naples and Madrid; Wotan in Das Rheingold at the Bregenz Festival; Balstrode in Peter Grimes in Vienna and Amsterdam; Creon in Oedipus at the Salzburg Festival; and the Herald in Lohengrin and Faninal in Der Rosenkavalier in New York.During the 2026–2027 season, his engagements include Jochanaan in Amsterdam, Jack Rance in La fanciulla del West in Geneva, Wotan in Das Rheingold in San Francisco, and Alberich in Wagner’s Ring cycle at the Paris Opera.At the Paris Opera: Oedipus (Creon, 2021); Parsifal (Amfortas, 2022); Das Rheingold (Alberich, 2025); Siegfried (Alberich, 2026).

Brian-Mulligan

Finnish bass Mika Kares studied at the Sibelius Academy in Helsinki and was a member of the ensemble of the Badisches Staatstheater Karlsruhe from 2005 to 2010. His operatic roles include Hagen (Götterdämmerung), Hunding (Die Walküre), Fafner (Siegfried), Fasolt (Das Rheingold), Hermann (Tannhäuser), King Marke (Tristan und Isolde), Heinrich der Vogler (Lohengrin), the Commendatore (Don Giovanni), Jacopo Fiesco (Simon Boccanegra), Zaccaria (Nabucco), King René (Iolanta), Ivan (Khovanshchina), and Bluebeard (Herzog Blaubarts Burg), a role he recorded for BIS in 2021, earning him a Grammy Award nomination. Mika Kares also appears in concert, with a repertoire including Mozart’s Requiem, Rossini’s Stabat Mater, Beethoven’s Symphony No. 9 and Missa solemnis, Verdi’s Messa da Requiem, Mahler’s Symphony No. 8, and Shostakovich’s Symphonies Nos. 13 and 14.During the 2026–2027 season, he performs Hagen at the Royal Ballet and Opera, the Philharmonie de Paris, and Carnegie Hall in New York, as well as Fafner and Hagen in Wagner’s Ring cycle at the Paris Opera.At the Paris Opera: Il trovatore (Ferrando, 2018); Simon Boccanegra (Jacopo Fiesco, 2018, 2024); Turandot (Timur, 2023); Das Rheingold (Fafner, 2025); Siegfried (Fafner, 2026).

Kares.Mika 4 (c) MIKA-fotografie-Berlin

Born in Arizona, Tamara Wilson is a recipient of the Richard Tucker Award. She has been nominated for the Olivier Awards and won first prize at the annual Francisco Viñas Competition held at the Gran Teatre del Liceu in Barcelona.In recent seasons, she has appeared at Teatro La Fenice in Venice in Fidelio; the Bavarian State Opera in Munich in Ariadne auf Naxos; the Canadian Opera Company in Toronto and Dutch National Opera in Amsterdam in Turandot; Deutsche Oper Berlin in Un ballo in maschera; Oper Frankfurt in Don Carlo; Lyric Opera of Chicago in Ernani; the Metropolitan Opera in New York in Lohengrin; and Houston Grand Opera in Tosca. More recently, she has performed the roles of Senta in Der fliegende Holländer in Chicago; Brünnhilde in Die Walküre in concert in Rotterdam, Dortmund, and at the Théâtre des Champs-Élysées; Elisabeth in Tannhäuser in Houston; Brünnhilde in Santa Fe; and Isolde in Tristan und Isolde in Houston.During the 2026–2027 season, her engagements include Brünnhilde in Wagner’s Ring cycle and Leonora in Il trovatore at the Paris Opera.At the Paris Opera: Turandot (title role, 2023); Beatrice di Tenda (title role, 2024); Die Walküre (Brünnhilde, 2025); Siegfried (Brünnhilde, 2026).

Wilson.Tamara (c) Claire McAdams

Sinéad Campbell Wallace is a graduate of the Royal Irish Academy of Music in Dublin, the National Opera Studio, and the Britten Pears Young Artist Programme.She appears on leading international opera stages, including the Canadian Opera Company in Toronto, Palau de les Arts Reina Sofía in Valencia, Irish National Opera in Dublin, Scottish Opera, and Wexford Festival Opera. Her repertoire includes the title roles in Salome and Tosca; Chrysothemis in Elektra; Elsa in Lohengrin; Senta in Der fliegende Holländer; Mimì in La bohème; Angelica in Suor Angelica; Leonore in Fidelio; Madame Lidoine in Dialogues des Carmélites; Agathe in Der Freischütz; and Ellen Orford in Peter Grimes.She recently performed Leonore in Fidelio at the Hungarian State Opera in Budapest, Chrysothemis in Elektra at the Bavarian State Opera in Munich, and Madame Lidoine in Dialogues des Carmélites at the Semperoper Dresden. During the 2026–2027 season, her engagements include Irene in Rienzi at the Semperoper Dresden and Freia, Gutrune, and the Third Norn in Wagner’s Ring cycle at the Paris Opera.At the Paris Opera: Lohengrin (Elsa von Brabant, 2023).

CampbellWallace.Sinéad 1 (c) MarshallLightStudio

Born in Geneva, Eve-Maud Hubeaux first studied piano at the Lausanne Conservatory before pursuing vocal studies there. She developed her international career through the opera studio of the Opéra national du Rhin. She is the recipient of numerous awards, including prizes at the International Belvedere Competition (2013) and the 5th Renata Tebaldi International Competition.Her repertoire includes the title role in Carmen; Laura in La Gioconda; Gertrude in Hamlet; Amneris in Aida; Princess Eboli in Don Carlos; Brangäne in Tristan und Isolde; Baba the Turk in The Rake’s Progress; Nerone in Agrippina; Cornelia in Giulio Cesare in Egitto; Mother Marie in Dialogues des Carmélites; Adalgisa in Norma; and Phébé in Castor et Pollux. During the 2026–2027 season, she performs Princess Eboli and Marguerite in La Damnation de Faust in Vienna, Laura in London, and Fricka and Waltraute in Wagner’s Ring cycle at the Paris Opera.At the Paris Opera: Der Rosenkavalier (Annina, 2016); Don Carlos (Thibault, 2017); Wozzeck (Margret, 2017); Don Carlo (Thibault, 2019); Madama Butterfly (Suzuki, 2019); Le Soulier de satin (Dona Prouhèze, 2021); Hamlet (Gertrude, 2023); La Vestale (the High Priestess, 2024); Das Rheingold (Fricka, 2025); Aida (Amneris, 2025).

Hubeaux.EveMaud (c) P. Matsas

Mezzo-soprano Aude Extrémo appears on leading international opera stages. A graduate of the Paris Opera’s Atelier Lyrique, she is a regular performer of the French repertoire, in roles including Dalila in Samson et Dalila, Charlotte in Werther, Marguerite in La Damnation de Faust, Ursule in Béatrice et Bénédict, Anna in Les Troyens, Concepción in L’Heure espagnole, and Catherine in Jeanne d’Arc au bûcher. In recent seasons, she has made notable role debuts as Fricka in Die Walküre at the Bordeaux National Opera and Marseille Opera; Brangäne in Tristan und Isolde at the Opéra national de Lorraine; Amneris in Aida at the Opéra de Massy; and Erda in Siegfried at Theater Dortmund.She has also performed Azucena in Il trovatore at Marseille Opera; Judith in Herzog Blaubarts Burg at Dijon Opera; Sélysette in Ariane et Barbe-Bleue at Teatro Real in Madrid; and Yamina in La Montagne noire at Bordeaux National Opera.At the Paris Opera: Faust (Lieschen, 2010); Béatrice et Bénédict (Ursule, 2017); Les Troyens (Anna, 2019); Madama Butterfly (Suzuki, 2024); Rigoletto (Maddalena, 2024).

Extrémo.Aude (c) Cassiana Sarrazin

Marie-Andrée Bouchard-Lesieur trained at the Bordeaux Conservatory after studying at Sciences Po Bordeaux. She was a member of the Paris Opera Academy from 2019 to 2021 and participated in the Young Singers Project at the Salzburg Festival.Nominated as one of the opera revelations at the Victoires de la Musique, she has sung Néris in Cherubini’s Médée at the Opéra Comique; Siegrune in Die Walküre in Brussels; Mrs Meg Page in Falstaff at the Royal Opera of Wallonia; Fenena in Nabucco at the Sanxay Festival; the title role in La Périchole in Saint-Étienne; Santuzza in Cavalleria rusticana in Montpellier; Krista in The Makropulos Case in Lille; and Dara in La Montagne noire in Bordeaux. During the 2026–2027 season, she performs Métella in La Vie parisienne at the Monte-Carlo Opera, Waltraute and the Second Norn in Wagner’s Ring cycle, and Alice in Miroir de nos peines at the Paris Opera.She also performs Berlioz’s Les Nuits d’été with Insula Orchestra at the Konzerthaus Berlin and La Seine Musicale.At the Paris Opera: L’Enfant et les Sortilèges (the Dragonfly, the Chinese Cup, Maman, 2020); The Rape of Lucretia (Lucretia, 2021); Parsifal (a Flower Maiden, a Squire, 2022); Wozzeck (Margret, 2022); Die Zauberflöte (Second Lady, 2022, 2024); Il trovatore (Ines, 2022); Falstaff (Mrs Meg Page, 2024); Die Walküre (Waltraute, 2025).

Bouchard-Lesieur.Marie-Andrée (c) Romane Begon

Member of the Paris Opera’s Resident CompanyMargarita Polonskaya studied at the Gnessin Academy of Music in Moscow and at the Mozarteum University in Salzburg. As a member of the Paris Opera Academy, which she joined in 2022 for two seasons, she performed notably Giulia in La scala di seta and Anna Maurrant in Street Scene. She received the AROP Opera Award in 2023 and the Cercle Carpeaux Opera Award in 2024, and was a finalist in the Hans Gabor Belvedere Competition in 2021 and the Zenith Opera Competition in 2026. In 2022, she sang Pamina in Die Zauberflöte at the Immling Festival.In Strasbourg, she performed Eurydice in Orphée et Eurydice in 2024, followed by Cio-Cio-San in Madama Butterfly and Dido in Dido and Aeneas in 2026. During the 2026–2027 season, she performs Mimì in a concert version of La bohème there. She has been a member of the Paris Opera’s Resident Company since the 2024–2025 season.At the Paris Opera: Die Zauberflöte (First Lady, 2022, 2024); L’Enfant et les Sortilèges (the Princess, 2023); Das Rheingold (Woglinde, 2025); Il trittico (Suor Genovieffa, 2025); Il barbiere di Siviglia (Berta, 2025); Aida (Priestess, 2025); Le nozze di Figaro (Countess Almaviva, 2025); Carmen (Frasquita, 2026); Rusalka (First Nymph, 2026).

Margarita Polonskaya

A graduate of Rice University, Puerto Rican mezzo-soprano Isabel Signoret has performed with Wolf Trap Opera, the Aspen Music Festival, and the Miami Music Festival. She is a member of the ensemble of the Vienna State Opera for the fourth consecutive season, having previously completed a two-year residency in its Young Artists Programme. She recently performed Despina in Così fan tutte, Amando in Le Grand Macabre, the Page in Salome, and Muriel in Animal Farm at the Vienna State Opera.On the concert platform, she has performed Mozart’s Requiem with the Los Angeles Philharmonic, Beethoven’s Symphony No. 9 with the Boston Symphony Orchestra, and made her debut in Handel’s Messiah with the North Carolina Symphony. A passionate advocate of Spanish and Latin American song, she has given recitals throughout Europe and the United States.During the 2026–2027 season, she appears in Wagner’s Ring cycle at the Paris Opera and makes her Metropolitan Opera debut in New York as Javotte in Manon.At the Paris Opera: Das Rheingold (Wellgunde, 2025).

Signoret.Isa (c) Rosario Fernandez

Katharina Magiera began studying piano at the age of six and studied voice at the Frankfurt Conservatory with Hedwig Fassbender. On the concert platform, she performs the major works of the oratorio repertoire. She is a member of the ensemble of Oper Frankfurt, where her roles have included Orfeo in Orfeo ed Euridice; Flosshilde and Schwertleite in Wagner’s Ring cycle; Cornelia in Giulio Cesare in Egitto; Ježibaba in Rusalka; Hänsel in Hänsel und Gretel; Jocasta in Oedipus Rex; Marcellina in Le nozze di Figaro; Maddalena in Rigoletto; and Bradamante in Alcina.She is regularly invited to perform in Strasbourg, at the Salzburg Easter Festival, Theater an der Wien, the Glyndebourne Festival, and the BBC Proms in London. In recent seasons, she has performed Waltraute in Götterdämmerung at the Tirol Festival Erl; the First Maid in Elektra at the Baden-Baden Festival; and Auntie in Peter Grimes and Lisa in The Passenger in Frankfurt. During the 2026–2027 season, she performs Flosshilde and Schwertleite at the Paris Opera and Oper Frankfurt.At the Paris Opera: Die Zauberflöte (Third Lady, 2015, 2022); Elektra (First Maid, 2022); Salome (Page of Herodias, 2022, 2024); Das Rheingold (Flosshilde, 2025); Die Walküre (Schwertleite, 2025).

Katharina Magiera nb

Pablo Heras-Casado was named Conductor of the Year 2024 by Opernwelt magazine, Best Conductor of the Year at the Oper! Awards 2025, and was awarded Spain's 2025 National Music Prize (Premio Nacional de Música). He appears regularly with, among others, the Philharmonia Orchestra, the Orchestre Philharmonique de Radio France, the Munich Philharmonic, the Vienna Philharmonic, the Orchestra of Teatro alla Scala, the Berlin Philharmonic, the Los Angeles Philharmonic, the Staatskapelle Berlin, the NHK Symphony Orchestra, the London Symphony Orchestra, the San Francisco Symphony, the Chicago Symphony Orchestra, and the Philadelphia Orchestra.In opera, he has conducted Don Giovanni at Teatro alla Scala, L'Orfeo, L'Incoronazione di Poppea, La clemenza di Tito, Le Grand Macabre, and Wagner's Ring cycle at the Vienna State Opera, Parsifal at the Bayreuth Festival, the Ring cycle and Die Meistersinger von Nürnberg at Madrid's Teatro Real, and Der fliegende Holländer at the Staatsoper Unter den Linden in Berlin.During the 2026–2027 season, his engagements include Der fliegende Holländer at the Vienna State Opera and Wagner's Ring cycle at the Paris Opera. In 2018, he was appointed a Knight of the French Order of Arts and Letters.At the Paris Opera: Les Enfants du paradis (2008); Così fan tutte (2024); Das Rheingold (2025); Die Walküre (2025); Siegfried (2026).

After serving as Artist-in-Residence at Theater Basel and as Artistic Director of Barcelona's Teatre Romea, the International Arts Festival of Castilla y León, and Barcelona International Teatre, Calixto Bieito has been Artistic Director of Teatro Arriaga in Bilbao since 2017. Since the early 2000s, he has devoted himself primarily to opera directing while continuing his work in spoken theatre.His previous productions include Carmen and Tristan und Isolde in Vienna; Rudi Stephan's Die ersten Menschen and Giulio Cesare in Egitto in Amsterdam; War and Peace and Khovanshchina in Geneva; Die Soldaten, Eliogabalo, and L'Incoronazione di Poppea in Zurich; Hèctor Parra's Orgia in Barcelona; Lohengrin and Aida in Berlin; Moses und Aron and Le Grand Macabre in Dresden; Carmina Burana and Trionfi in Hamburg; Il prigioniero / Suor Angelica in Rome; Jenůfa and Káťa Kabanová in Prague; and Idomeneo in Brussels.At the Paris Opera: Lear (2016); Carmen (2017); Simon Boccanegra (2018); The Exterminating Angel (2024); Das Rheingold (2025); Die Walküre (2025); Siegfried (2026).

Born in Berlin, Rebecca Ringst studied set design at the Dresden Academy of Fine Arts. She has collaborated with Calixto Bieito since 2006 at leading international opera houses, including the Vienna State Opera, Komische Oper Berlin, the Bavarian State Opera in Munich, English National Opera, Dutch National Opera in Amsterdam, Opernhaus Zürich, Stuttgart Opera, Opera Ballet Vlaanderen, and the Nuremberg State Theatre. She has also worked with Stefan Herheim at Stuttgart Opera, Andrea Moses at the Deutsches Theater Berlin and, since 2015, with Barrie Kosky at the Bavarian State Opera, Komische Oper Berlin, the Bayreuth Festival, and the Metropolitan Opera, New York.In 2010, she was named Stage Designer of the Year by Opernwelt magazine for her set design for Der Rosenkavalier. She received Spain's Premio Max in 2014 for the play Forests and has twice been nominated for the International Opera Awards and for Norway's Hedda Award.Most recently, she designed the sets for The Galloping Cure at the Edinburgh Festival. During the 2026–2027 season, she designs the sets for Die Fledermaus at the Bavarian State Opera in Munich.At the Paris Opera: Lear (2016); Das Rheingold (2025); Die Walküre (2025); Siegfried (2026).

Born in Germany, Ingo Krügler studied costume and design in Berlin and London. He lives in Vienna and works internationally. After working for Jean Paul Gaultier and John Galliano in Paris, he assisted on productions by Michael Haneke, Robert Carsen, David Alden, David Pountney, Thomas Langhoff, Gottfried Pilz, and Stefan Herheim. Since Jenůfa in Stuttgart in 2008, he has collaborated regularly with Calixto Bieito on productions including Elias, Turandot, Lulu, Oresteia, Die Soldaten, The Fiery Angel, L'Incoronazione di Poppea, Otello, Armida, Gianni Schicchi, Dialogues des Carmélites, Lohengrin, Aida, Les Contes d'Hoffmann, Tannhäuser, Turandot, Les Troyens, La forza del destino, Fidelio, Boris Godunov, La Juive, Brand, St John Passion, Moses und Aron, Le Grand Macabre, Hèctor Parra's Les Bienveillantes, and Maometto II.He has also worked with Tatjana Gürbaca in Novosibirsk, Elisabeth Stöppler (Werther, Faust, and Medea), Tobias Kratzer (Rise and Fall of the City of Mahagonny), Matthew Wild (Don Giovanni and La Bohème), Stefan Märki, and Lydia Steier (Elektra).At the Paris Opera: Lear (2016); Simon Boccanegra (2018); The Exterminating Angel (2024); Das Rheingold (2025); Die Walküre (2025); Siegfried (2026).

Michael Bauer has been Head of Lighting at the Bavarian State Opera in Munich since 1998. At the company, he has collaborated with directors including Luc Bondy, David Bösch, August Everding, Andreas Dresen, Claus Guth, Richard Jones, Yannis Kokkos, Peter Konwitschny, Jürgen Rose, and Roland Schwab.He has also worked at opera houses in Hamburg, Berlin, Dresden, Madrid, London, San Francisco, New York, Milan, Antwerp, Ghent, Basel, Athens, St Petersburg, Paris, Bilbao, Rome, and Lisbon. A regular collaborator of Calixto Bieito, he has designed the lighting for productions including Lohengrin, Hänsel und Gretel, Lear, Tosca, The Nose, L'elisir d'amore, Die Zauberflöte, Peter Grimes, Hanjo, Semele, Of One Blood, and Die Walküre in Munich; Manon, Falstaff, Fidelio, and Monster's Paradise in Hamburg; Rigoletto, Irrelohe, and Bluthaus in Lyon; Tristan und Isolde in Vienna; Tannhäuser in Leipzig; War and Peace in Budapest; Maometto II in Naples; Idomeneo and Khovanshchina in Geneva; and Das Rheingold in Munich.During the 2026–2027 season, he designs the lighting for Macbeth in Hamburg and Siegfried in Munich.At the Paris Opera: Werther (2009); La Cenerentola (2011); Simon Boccanegra (2018); Faust (2021); Das Rheingold (2025); Die Walküre (2025); Siegfried (2026).

Born in Lucerne, Sarah Derendinger has explored the intersection between experimental cinema and multimedia installations since the 1990s. She has directed numerous films before focusing on complex video installations, often multi-channel works incorporating live cameras.Her work has been presented internationally, including at the Berlin Theatertreffen, the Grand Théâtre de Genève, English National Opera, Teatro Real in Madrid, and La Monnaie in Brussels. Since 2013, she has collaborated with Calixto Bieito and has created video installations for artists including Jossi Wieler, Heiner Goebbels, Barbora Horáková Joly, and Andrea Moses.Alongside her work in theatre and opera, she has pursued a distinguished career as a filmmaker. Her documentaries and experimental films have been screened at numerous international festivals. Since 1993, she has directed documentaries, live broadcasts, and television series for Swiss public broadcaster SRF. More recently, she has created video operas, including Arne Nordheim's Tempest and The Rape of Lucretia, bringing her distinctive approach to video art into stage productions.At the Paris Opera: Lear (2016); Simon Boccanegra (2018); Das Rheingold (2025); Die Walküre (2025); Siegfried (2026).

Bettina Auer studied musical theatre directing as well as musicology and German philology in Hamburg and Berlin. In addition to her work as a specialist and dramaturg for music theatre at the theatres of Bern, Darmstadt, Basel, and Komische Oper Berlin, she has overseen productions in the fields of drama and dance.She has worked notably for the Salzburg Festival, Opernhaus Zürich, Deutsche Oper Berlin, Israel Festival, Lucerne Festival, Dutch National Opera in Amsterdam, Vienna State Opera, Bavarian State Opera in Munich, Hamburg State Opera, Staatsoper Unter den Linden in Berlin, Residenztheater Munich, and Vienna's Burgtheater. Since 2009, she has maintained a close and ongoing collaboration with Calixto Bieito.She has also worked with Stefan Bachmann, Karin Beier, Tatjana Gürbaca, Claus Guth, Jasmina Hadziahmetovič, Barbora Horáková, Barrie Kosky, Nicolas Stemann, and Michael Thalheimer. She has taught at various universities and has been a long-standing lecturer at the Hochschule für Musik “Hanns Eisler” Berlin, which appointed her Honorary Professor.At the Paris Opera: Lear (2016); The Exterminating Angel (2024); Das Rheingold (2025); Die Walküre (2025); Siegfried (2026).

A graduate of the National Normal University of Taiwan, Ching-Lien Wu continued her studies at the Conservatoire National Supérieur de Musique de Lyon, where she was awarded the First Prize in Choral Conducting in 1987. She took part in conducting courses and masterclasses with Jean-Sébastien Béreau, Helmut Rilling, Michael Gielen, and Pierre Boulez. In 1989, she was appointed Head Vocal Coach at the Opéra de Nantes, and in 1990, Assistant Chorus Master at the Théâtre du Capitole in Toulouse.From 1991 to 2001, she served as Chorus Master of the Opéra National du Rhin, and from 2001 to 2014, as Chorus Master of the Grand Théâtre de Genève. Between 2002 and 2012, she also conducted numerous concerts with her own ensemble, Le Motet de Genève. In September 2014, she was appointed Chorus Master of the Dutch National Opera in Amsterdam. Since 1996, she has been giving choral conducting masterclasses at the Conservatoire National Supérieur de Musique de Lyon.In her native country, she has overseen the musical preparation for several operatic productions, notably The Barber of Seville, an opera for which she also directed the stage production in Taipei. Ching-Lien Wu was appointed Chorus Master of the Paris Opera in February 2021. She is a Chevalier of the Order of Arts and Letters.

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