In 2013, Atlanta Opera was on the ropes—so much so that it was going to have to collapse the two positions of artistic and general director. A very eager stage director named Tomer Zvulun raised his hand. “Don’t hire him,” said a high-powered consultant. “He’s not ready.” But the search committee liked Zvulun, gave him the job(s), and subsequently sent him to Harvard for an MBA. Artistically, Zvulun’s big dream back then was to shepherd Atlanta to the top tier of American opera companies—and the benchmark for that was going to be a world-class production of Wagner’s Der Ring des Nibelungen. Step by step, he has made his dream come true. The first three segments of the Zvulun Ring have had a Constructivist graphic-novel look that let the drama unfold without distractions. This spring, we reach the grand finale Götterdämmerung, in which the world catches fire and is reborn. Following a unique, now well-established Atlanta tradition, the previous installments—Das Rheingold, Die Walküre, and Siegfried—have not simply been captured live on video; they have been transformed into real movies by combining the raw shoots from the stage with lots of creative post-production (select the “Film Studio” tab on the company Web site). Götterdämmerung streams live, sans frills, on June 5, with the usual improvements to follow. Stefan Vinke and Lise Lindstrom return as Siegfried and Brünnhilde, lovers tragically estranged by dark forces yet perhaps reunited on some other plane. Roberto Kalb conducts. —Matthew Gurewitsch