Why Weimar? Mark Berry wonders whether a home-grown ‘Ring’ will prove to be an essential addition to the catalogue

This is not a Ring for musicians. Such is the evidence of the first and much of the second instalment of der ring in weimar: a commoditised reversion to the Master/master’s temporary, revolutionary eschewal of the upper-case. Let us start prior to the beginning, with one of those ubiquitous musical ‘introductions’. Wagner’s Ring/ring is surely better off starting with that low E flat; we, however, are condemned to hear, on endless loop, Erda’s warning, ‘Weiche Wotan, weiche ...’, and the god’s response.