Das Rheingold

Richard Wagner

Gold rules. Gold ruins.

Das Rheingold begins the epic story of the ring. This tale of seduction, deception, and betrayal features the Minnesota Opera Orchestra on stage as a dramatic central character, and is reimagined with innovative video and staging.

Preliminary run time of 2 hours and 33 minutes, with no intermission. Hall re-entry permitted at appropriate breaks.

Sung in German with English translations projected above the stage.

Subscription packages and individual tickets are available now!


  • Cast & Creative Team

    Minnesota Opera favorite Greer Grimsley will sing the role of Wotan. Click below to read more about the performers on the stage and people behind the scenes.

  • Program


  • Synopsis

    Three Rhinemaidens, Woglinde, Wellgunde and Flosshilde, swim in the Rhine, guarding their gold, while Alberich admires from above. They tease and mock him, and repel his flirtations. He angrily spouts his revenge. His eye catches the Rheingold, and the maidens relay its magical powers – if fashioned into a ring, it would give its wearer power over the world if he would renounce love. Alberich boldly manages to steal the gold, to the Rhinemaidens’ protestations.

  • Costume and Set Renderings


  • Behind The Scenes

  • Listen

    Listen to Das Rheingold on Spotify.


  • Director's Notes

    Stage Director Brian Staufenbiel gives us a preview of this new production of Wagner’s Das Rheingold.

  • Composer Biography

    Richard Wagner’s paternity will always remain one of opera’s most tantalizing mysteries. His father, Carl Friedrich, had a passion for the theater (naming four daughters after heroines of Goethe and Schiller), and as a consequence took in an actor, Ludwig Geyer, to help defray the cost of raising a large family. It appears Geyer took a fancy to Friedrich’s wife, Johanne, and may have been the real father of Richard – as it happened, Friedrich died shortly after Johanne became pregnant, and when Richard was born, Ludwig and Johanne soon married. As a result, Richard bore the surname Geyer for his first few years, and later in his life it was remarked that he looked more like a portrait of his stepfather than his supposed real one. Some have attempted to trace the name to possible Jewish roots (one of several unattractive aspects of the composer’s adult personality was his anti-Semitism) but have yet to put forth a firm case.

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