In some ways it was the perfect July morning on which to gather media and assorted opera fans to hear Richard Bradshaw announce that he has put together the perfect team to stage Richard Wagner's Ring Cycle for the Canadian Opera Company. What is so astounding about this team, consisting of Michael Levine, Atom Egoyan, François Girard and Tim Albery, is that three are Canadian of international acclaim, and the third is a Brit of world renown, who now makes his home in Toronto.

"It's almost as if we have a Canadian operatic Dream Team," said Bradshaw, enthusiasm filling his voice. "I cannot imagine a better and more fitting way to mount the first Ring Cycle in Canada than by entrusting it to the most exciting, intelligent and musical directors I can think of."

The assembled crowd already knew that the COC had the ambitious plans to be the first Canadian company to stage the cycle in its entirety. But who would be directing and designing the four operas (Das Rheingold will be included) had up to this moment been a mystery.

The air was hot and steamy, pregnant with threatening rain when the general director of the COC stepped before the microphone in the charming courtyard of the COC's headquarters on Front Street East. It felt as if Wotan, pleased with what was about to be announced, had decided to let the assembled crowd enjoy itself in relative peace before unleashing the content of the dark clouds onto Toronto. This chief god of the ancient Norse Sagas, whom Wagner immortalized for ever in our modern psyches through his rousing music and fantastic book and lyrics, will now definitely make his appearance in Toronto with his attendant major and minor gods and goddesses starting in the 2003/4 season.

"We want a Ring that lasts," said Bradshaw, who has headed the company for the past 12 years, "one we can revive." To make that possible, the COC chose designer Levine to design the sets and costumes for all four operas. Levine has an international reputation for his designs that have been called absolutely beautiful by the New York Times. He has designed for the Paris Opera, Wiener Staatsoper, the English National Opera, New York's Met, the National Theatre in London, and the Salzburg Festival to mention a few.

"He (Levine) brings not only to this production his extraordinary vision, but he is the glue," explained Bradshaw. The designer's job will be to create a unifying image for all four operas.

Levine will also make his directorial debut with the majestic prologue to the Ring, Das Rheingold (The Rhinegold). It will be presented by the COC in 2006, when the entire cycle will be presented in the soon to be build new opera house, to be known as the Four Seasons Centre for the Performing Arts. It is the first time that this opera will be staged by the COC.

Egoyan, who is chiefly known to the general public as one of Canada's most imaginative and daring film directors, will return to the COC to direct Die Walküre (The Valkyrie), which will make its appearance at the Hummingbird Centre in the spring of 2004. His Salome for the COC premiered in 1996, and was revived in the 2001/2 season. At the English National Opera he directed Dr. Ox's Experiment. The COC staged Die Walküre in 1962 and 1971.

Girard will direct Siegfried. It is scheduled for the winter of 2005. Girard directed Oedipus Rex with Symphony of Psalms for the COC in 1997. Described as extraordinary in vision and scope, this production has been singled out as giving the COC the reputation for taking audacious and fresh looks at operatic classics. This production has been invited to participate in this year's Edinburgh International Festival in August, thus giving the COC more international exposure. It will also return to the COC stage in the 2002/3 season.

Albery will make his COC debut with Götterdämmerung (Twilight of the Gods), also set for the winter of 2005. The British director is known for his daring and intelligent productions for such companies as New York's Met, the English National Opera and the Royal Shakespeare Company. His productions, too, has been invited to the Edinburgh International Festival. His Siegfried is to be presented there this year, and he will return to the Festival next year with Götterdämmerung.

Bradshaw, who will be conducting the COC Orchestra for the entire Ring Cycle, praised the members of the creative team as being individuals who "have an extra sense that makes them able to allow the unconscious to become conscious. They have no problems to work together in a collegial manner." He explained that although the company had its own idea who of the four should direct which opera, no decision was taken until each director was asked which he would like to take on. "In each case they chose what we wanted them to choose," the beaming general director told his audience.

He expressed the wish that the COC Ring Cycle will not become known as a techno Ring. "We want it to be beautiful, but 21^st century technology will play a roll." He also stressed that the company wants the four operas to be "consistent throughout."

The cast is not yet finalized, but will be largely Canadian. Among the artists already signed up will be soprano Frances Ginzer as Brunhilde, and Adrianne Pieczonka as Sieglinde. The company also signed the American, Peteris Eglitis, who is fast achieving international recognition as being a Heldenbariton. All of the major roles will be sung by the same person in all four productions to keep the desired consistency that will also be underlined by Levine's sets and costumes.

The COC will have $2.5 million available to spend on sets, which Bradshaw said, will allow the company to create "an undertaking of world significance." In addition, he pointed out that the Ontario Government has set up a scheme to bring the world to Toronto to see the Ring Cycle. This means it will spend $2 million from its Cultural Attractions Fund, which is set up to support the tourism potential of special events, exhibitions or performance programs. The Ring Cycle is presented by Kolter Property Company, its private sponsor.