Glastonbury Festival fans have learned to expect the unexpected.
And that's certainly what they got on the bright Sunday morning of June 27, 2004. That was when the English National Opera brought Act III of Richard Wagner’s epic opera Die Walküre—featuring the iconic 'Ride of the Valkyries'—to the festival's iconic Pyramid Stage. The performance was unprecedented: a 90-piece orchestra and 11 soloists delivered a 50-minute operatic saga to over 100,000 mud-splashed festival-goers.
Why they did it
Michael Eavis and ENO’s leader Sean Doran saw echoes between Wagner and rock: rebellion, emotional drama, and visceral power. Wagner himself envisioned reaching mass audiences—just as Eavis does each year. This wouldn’t be a gimmick, said Doran—it would be a genuine bridging of genres and cultures.
It began with the adrenaline-pumping headline motif known from Apocalypse Now, then moved straight into the dramatic dialogue between Brünnhilde and Wotan: two displaced goddesses, betrayal, defiance—opera’s grandest elements, set to Wagner’s thunderous orchestration.
Audience reaction
Surprisingly, the crowd was rapt. One reveller said performing Wagner outdoors was “quite moving”. BBC reported the audience was “riveted”—listening “absolutely fresh” amidst the festival's usual chaos. ENO observed both opera connoisseurs and curious newcomers frozen in silent attention.
'Opera meets rock'
“This is opera meeting rock,” proclaimed The Guardian, noting how perfectly Wagner’s “thrusting bolshiness” fit the Glastonbury ethos. The Irish Times called it a scandalous but successful “crash” of Wagner into the festival scene.
Subsequent reviews praised the event’s fusion of high art and mass culture. The Independent’s Sean Padmore said it fulfilled Wagner’s own vision of removing opera’s elitism and targeting all classes. Michael Berkeley highlighted Wagner as “the ultimate rock music,” explaining how sharing the stage with the likes of Oasis and Paul McCartney made perfect sense.
Why it mattered
This wasn’t just novelty—it was proof that opera could reach younger, unschooled audiences, even in festival mud and sweat. ENO emphasized, Wagner was written for festivals and mass audiences, and Glastonbury provided just the stage.
The performance remains a highlight, credited with broadening expectations of what Glastonbury—and festivals in general—can hold. It’s a testament to the belief that “blood and guts” classical music can stand shoulder-to-shoulder with guitars and dance beats—and that software, tradition, and rebellion need not be enemies.
Enduring influence
While opera hasn’t become a regular Glastonbury fixture, the Kerrang-meets-crescendo moment demonstrated that audiences crave daring cultural mashups. It set a template for future experimentation. Most recently, composer Max Richter made his Glastonbury debut in 2023 on the Park Stage, delivering a stirring midday performance of his album The Blue Notebooks with a string quartet and special guest Tilda Swinton.
And deeper still is Glastonbury’s own legacy: a lineage stretching back to composer Rutland Boughton’s original 1914 festival—and Wagner’s ideals—borne into the modern day
In short: in 2004, Glastonbury turned its mighty Pyramid Stage into Valhalla. It wasn’t just a performance—it was proof that genius, no matter how grand, can flourish in the mud.
Who else played at Glastonbury 2004?
In a challenging year weather-wise, Glastonbury 2004 stood strong thanks to improved drainage, waste recycling, and even gender-neutral “she-pee” toilets—all part of a greener, safer setup with 150,000 festival-goers registered . On the Pyramid Stage, Paul McCartney headlined Saturday night with an epic 33-song set, delivering Beatles classics like Hey Jude and Let It Be. His electrifying performance—even earning a £1,000 fine for overrunning curfew—generated sustained cheers that echoed long after his encore.
Oasis topped Friday, though some fans were disappointed by what they felt was a slower, muddier set from Liam Gallagher. Muse closed on Sunday, cementing their reputation with a commanding and energetic performance.
Elsewhere, the 'Godfather of Funk' James Brown delivered a show-stopping performance, complete with dancers and theatrical flair. Among other standouts were Scissor Sisters (who are back this year), making their memorable debut across multiple stages , as well as Goldfrapp, Franz Ferdinand, Basement Jaxx, Black Eyed Peas, and Joss Stone.
What else happened in June 2004?
June 2004 was a month marked by global transitions, political developments, and cultural moments. One of the most significant events was the death of former U.S. President Ronald Reagan on June 5, aged 93. A week of national mourning followed, culminating in a state funeral attended by world leaders, including Prince Charles and Mikhail Gorbachev.
In Iraq, sovereignty was formally handed back to the interim Iraqi government on June 28, ending the formal occupation by coalition forces—though violence and insurgency continued. Meanwhile, the European Parliament elections took place across the EU, with gains for eurosceptic and far-right parties, reflecting growing public discontent.
In sport, Greece shocked the football world by reaching the knockout stages of UEFA Euro 2004 in Portugal, a tournament they would go on to win. In entertainment, Harry Potter and the Prisoner of Azkaban topped box offices worldwide, while Usher’s 'Yeah!' dominated the music charts.
Technology also saw movement: SpaceShipOne became the first private spacecraft to reach space on June 21, marking a milestone in commercial spaceflight.
