Beginning at the End of the World: Richard Laing reports on a new production of ‘Götterdämmerung’ which includes several encouraging role debuts

When Romeo Castellucci and the Théâtre royal de la Monnaie parted ways half way through their Ring cycle in 2024, the theatre management announced that it lacked the resources to fulfil the director’s vision, though rumours of deeper, artistic disagreements soon followed. The final two parts of the tetralogy were entrusted to Pierre Audi, probably considered a safe, relatively uncontroversial pair of hands given his significant Wagnerian back catalogue, which includes a well received and twice revived Ring in Amsterdam.