The management of the Zurich Opera House has been flogging the notion that Zurich sits as deep in the DNA of Der Ring des Nibelungen as Bayreuth, where Wagner’s blockbuster cycle was first performed. Sure enough, it was during his 10-year residence in Zurich that Richard Wagner crafted his Norse-inflected saga of love, power, and the fate of the universe. With this in mind, the company’s general director Andreas Homoki is advertising “A Ring for Everyone,” which includes a fabulous light show on the opera-house façade and a livestream of the second and final cycle (May 18 to 26), with a window for on-demand viewing to follow. The privileged few, meanwhile, will attend Homoki’s own new production of the operas the old-fashioned way—in an intimate, exuberantly embellished 1,100-seat auditorium that is aesthetically the very antithesis of Wagner’s austere Festspielhaus in Bavaria, where audiences of 1,925 sit packed like sardines. Having built up stamina over the past two seasons, the conductor Gianandrea Noseda now runs the full marathon for the first time. The principal characters, appearing in three operas each, are Wotan, chieftain of the gods, sung by Tomasz Konieczny, and his rebellious daughter Brünnhilde, sung by Camilla Nylund. Klaus Florian Vogt is on hand as Siegfried, whose scarcely less taxing role is confined to two operas. Hojotoho! —Matthew Gurewitsch