Romeo Castellucci, who not only directs but also designs the sets, costumes, and lighting for his shows, is the kind of autocrat of opera who drives the old guard up a tree. Last fall, in Das Rheingold, the first of four installments in the new “Ring” cycle Castelluci is forging for Brussels and Barcelona, the naughty god of fire lobbed paintballs at giant photos of historic Wagnerians beginning with Birgit Nilsson as Brünnhilde. Tsk, tsk. But love Castellucci or hate him, his wild theatrical fantasy overflows with imagery that can haunt one’s dreams for months. In the stalwart Wotan of Gábor Bretz, the director has a protagonist who delivers the theatrics without compromising on musical or textual values. —Matthew Gurewitsch