Orchestras of renown tour all the time, touring being one of the main things they’re renowned for. The Bayreuth Festival Orchestra, renowned as it is, basically does not tour, for several reasons. For one thing, it’s a seasonal ensemble, made up of principals from leading institutions throughout Germany and beyond. For another, the unique Bayreuth acoustic—a function of Wagner’s out-of-sight “mystic gulf” of an orchestra pit, descending deep below the stage—is impossible to reproduce elsewhere. A big plus for the instrumentalists is that they can work in T-shirts and shorts if they feel like it; the conductor, also. For a rare post-Festival runout to Spain of all places, they’d best be packing concert dress. Leading the charge is the charismatic Pablo Heras-Casado, 48, a Spanish encyclopedist who is acclaimed in repertory from Monteverdi and has lately emerged as a transformative Wagnerian. Practically the new Bayreuth Messiah, he leads this summer’s Parsifal, that holy of holies, on the mainstage. Thence, it’s off to Iberia with an evening’s worth of excerpts from the “Ring” cycle, which last year he conducted back at Mission Central the way he conducts everything, with his hands only, no stick. The vocal talent includes the known quantities Catherine Foster as the Valkyrie Brünnhilde and Klaus Florian Vogt in the father-and-son roles of Siegmund and Siegfried. As Wotan, paterfamilias of the twisty family saga, there’s Nicholas Brownlee, whom aficionados are placing bets on as the Heldenbaritone of the rising generation. The itinerary hopscotches from Barcelona (August 29) to Santander (August 31), Madrid (September 3), Valencia (September 6), and across the Gulf of Cádiz to Las Palmas (September 8). In Andalusia, Seville (September 2) is as close as the maestro gets to his native Granada. —Matthew Gurewitsch