By ALAN RIDING [NY Times, 2 November 2005]
PARIS, Nov. 1 – Productions of Wagner’s “Ring des Nibelungen” have one thing in common: rarely do director, designer, conductor, orchestra and singers all emerge unscathed. The reason is simple. Audiences and critics often embark on this four-opera cycle with firm views on how its immense musical and mythical universe should look and sound.