The success of Seattle Opera's massive undertaking of Wagner's epic is largely due to the outstanding design and clever staging together with a superb cast of principal singers and chorus. The costuming is excellent and the idea from set designer Thomas Lynch, in bringing the singers close to the audience, is overwhelming. The depth of the stage may not equal that of other large houses, but scenery changes are slick due to an extremely wide wing space. The forest is a replica to that of a mountainous area north of Seattle which has been created with the care and detail needed to give it authenticity.

A cheering standing ovation from the audience at the close of each opera left me in no doubt of why Seattle Opera are so proud of their Ring.

For the opening of Das Rheingold Jennifer Zetlan, Cecelia Hall and Renée Tatum moved gracefully as Rhinemaidens, not unlike mermaids, as they were flown around the stage narrowly escaping Alberich's clutches. Richard Paul Fink as Alberich showed his true nature throughout - a character we love to hate especially in Götterdämmerung where his persuasive manner highlights the dream sequence with Hagen.

Once in the forest Fricka reminds her husband that the giants will soon claim their reward for building their home. Stephanie Blythe commanded the stage with her presence throughout the cycle, whether it be Fricka, Second Norn or Waltraute. Her voice has warmth and strength and yet she can be passionate, an attribute that must be the envy of the very best of mezzo sopranos. Here, the role of Fricka seemed stronger than I have experienced in previous productions so it was no surprise that director Stephen Wadsworth had her witnessing the death of Siegmund, almost as if she trusts no one, not even her husband, to uphold her wishes.

Wotan was dramatically played by Greer Grimsley. His stature alone gave him a compelling presence at all times, regardless of what else was happening. His tenderness for Wotan's farewell compared to his loud stern call for Loge to place a fire around Brünnhilde's rock was impressive.

Mark Schowalter, a newcomer for Seattle, was breathtaking as Loge and together with Grimsley, and Dennis Petersen as Mime, we see much adroitness in the Nibelheim scene. Giants Andrea Silverstrelli as Fasolt (later as Hunding) and Daniel Sumegi as Fafner (later Hagen) asserted supremacy. The giants, as with the dwarfs, were evenly matched both physically and vocally. Sumegi's rendition as Hagen was of unveiling importance. Wendy Bryn Harmer, (as with Blythe) delivered the same roles she had previously undertaken with The Metropolitan Opera. Her Freia and Gutrune were delivered with a strong full-bodied, warm, lyric sound.