I am extremely reluctant to take a position as a Wagnerian traditionalist. Life is hard enough as it is without entering a futile battle against the now generation-old invasion of directorial Goths, who consider all the specifics of Wagner’s poems and especially the stage directions in them to be automatically transferrable to some other set of references entirely different from Wagner’s own mythological cosmos. I’ve also had the luxury of having Otto Schenk’s fine Metropolitan Opera production as my “home” Ring. I’ve also done my best to keep an open mind for the good qualities of more manipulated efforts like the Warner-Lazarides production at the Royal Opera House, which I mostly liked, because it was intelligently conceived and maintained a trackable relation to Wagner’s original…although in retrospect I think I spent an undue amount of time meditating on the meaning of the crashed aeroplane in the first act of Siegfried—which was in itself just as cool as it gets. I’ve referred to the final performances of the Ring as a last call for traditional Rings at major opera houses, but I was wrong. The Seattle Opera, which is most definitely a major opera house, has just presented the third of four iterations of a production, which is recognizable as a traditional production, even more than Schenk’s, although its organizers deny that it is intended as a “traditional” Ring.