在拜罗伊特音乐节150周年纪念活动中，瓦格纳歌剧《里恩济》首次在该音乐节上演[1]。导演Alexandra Szemerédy和Magdolna Parditka将这部曾是希特勒最喜爱的作品改编为当代寓言，讲述一位罗马护民官从民主改革者沦为独裁者的故事[1]。Szemerédy将这部歌剧称为"高度被污染"的作品，指其与希特勒的历史联系[1]。
新编导演注重探讨民粹主义如何将民主领导人转变为独裁者[1]。Szemerédy表示："我们必须建立从过去到未来的桥梁，尤其是在右翼民粹主义再次抬头并成为威胁的时代"[1]。歌剧编剧Markus Kiesel认为："不演出歌剧——甚至禁演它——什么也解决不了。相反，我们需要坦诚、创意和诚实地面对这些问题"[1]。
这一选择具有特殊历史背景。拜罗伊特音乐节曾在1940-1944年间在希特勒财政支持下继续运营，被称为"战时音乐节"[1]。
本届音乐节还采用了创新的舞台技术。Marcus Lobbes团队为瓦格纳的《尼伯龙根的指环》开发了基于人工智能的全息三维舞台系统，使用1876-2024年的历史档案资料训练AI[1]。
The Bayreuth Festival marked its 150th anniversary by presenting "Rienzi" for the first time in its history, reimagined as a modern allegory exploring the dangers of populism [1]. Directors Alexandra Szemerédy and Magdolna Parditka adapted Wagner's opera to trace how a Roman tribune transformed from a democratic reformer into a dictator, addressing contemporary political concerns [1]. Szemerédy described the work as "highly contaminated," referencing its historical association with Hitler, and emphasized the production's mission: "We must build a bridge from the past to the future, especially at a time when right-wing populism is once again rising and becoming a threat" [1].
The artistic team defended the decision to stage the historically fraught work rather than avoid it. Librettist Markus Kiesel argued that "not performing the opera—even banning it—solves nothing. Instead, we need to confront these issues honestly, creatively, and forthrightly" [1]. The festival also incorporated technological innovation, with the production of "The Ring of the Nibelung" featuring an AI-generated holographic stage environment developed by Marcus Lobbes' team, trained on historical archives spanning from 1876 to 2024 [1].