Which is why I'm here to tell you: The Ring is coming back. Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner's 'Siegfried.' (Cory Weaver/San Francisco Opera) Like a dewy-eyed Deadhead waxing rhapsodic about Jerry Garcia, I turned into a proselytizing Ring zealot, urging anyone within earshot to give this slow-moving, 17-hour, 162-year-old opera a chance. But for opera.Īfter being transformed by The Ring, especially director Francesca Zambello's dynamic, modern staging of it, I understood where they were coming from. These were people decked in flamboyant outfits, who'd camped out in line for cheap tickets, who sometimes slept on the floor during intermissions and who, I learned, regularly traveled around the world to see as many stagings of The Ring as possible. But in 2018, when I saw San Francisco Opera's production of the Ring cycle-Wagner's 17-hour epic opera of gods, nymphs, giants and valkyries-I couldn't help but notice the crowd in the $10 standing-room-only peanut gallery at the War Memorial Opera House. You've probably never wondered what the classical composer Richard Wagner has in common with the Grateful Dead.
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