You’ll be glad to know that Wagner’s “Ring of the Nibelung” ended as it always does: with Valhalla up in smoke and a world (sort of) reborn. Performing this mighty, four-part work in the Metropolitan Opera House was the Kirov Opera of the Mariinsky Theater (St. Petersburg). Ruling in the pit was the famed, talented Valery Gergiev.

When he stepped out to conduct “Götterdämmerung” — “Twilight of the Gods” — on Thursday night, the audience greeted him with rapturous applause. This was a thank-you for all the music-making that had taken place in previous days. Then he tucked into Wagner’s score.

The entrance was lousy, and the next notes were just as bad. The orchestra would have a ragged Prologue and Act I. The subsequent acts weren’t exactly studio-perfect either. But a general musicality won out. The orchestra was almost always better than its individual parts. For example, tuning would be frightful — but, musically, Mr. Gergiev and his band would convince you anyway.

Throughout the many hours of the opera, Mr. Gergiev exhibited true musical judgment. Long stretches were infused with high drama. To take a single moment, in particular: The oath-swearing between Siegfried and Gunther had huge tension and a sinister excitement. That is exactly what Wagner calls for.

Of course, you could not agree with every measure that Mr. Gergiev conducted. For example, I found Siegfried’s Funeral Music overly harsh, percussive, and martial. But the conductor always had a case to make, and you had to honor him. He may not be your all-time Wagnerian — but he is a Wagnerian.

The first singers to appear in “Götterdämmerung” are the Three Norns. The first one, mezzo Elena Vitman, was deep, rich, and thrilling. The second and third ones filled the bill, too. Never mind that these three were often off pitch, there was something elemental about them. Ms. Vitman was virtually Podlesesque (like the stunning Polish contralto Ewa Podles).

In the critical and punishing part of Brünnhilde was Larisa Gogolevskaya. She proved very interesting, seeming a different soprano ever 15 minutes or so. She was raspy and clear, steely and tender. Sometimes she was worn, just about spent; then she would seem invincible. Ms. Gogolevskaya definitely has a Brünnhilde’s power. But some of her best singing was at the mezzo-forte level. Her lower register was impressive, although one C could not be heard. On the other end, her C was not real pretty, but it was there.

At one point, Ms. Gogolevskaya even executed something of a trill. Brünnhildes aren’t notable trillers.

And this one survived the role, and more than survived. Ms. Gogolevskaya was a proud battleship of a Brünnhilde (under a Russian flag). I had many reservations in the Prologue, but, the later the evening got, the more I liked this woman. A soprano who can grow on you is a winner.

Brünnhilde’s sister, Waltraute, was sung by the mezzo-soprano Olga Savova. The two of them had matching Lily Munster hair. Ms. Savova was keen, accurate, and altogether formidable.

Our Siegfried, the tenor Victor Lutsuk, was suitably Siegfriedian: He was regal, confident, and heroic. One of his chief qualities was evenness — evenness of vocal production. And, like Brünnhilde, he held up, like a warrior.

Hagen was portrayed by Mikhail Petrenko, who has an elegant, streamlined bass. The voice does not spread out, which is beneficial. Hagen’s father, the Nibelung Alberich, was portrayed by a baritone, Edem Umerov, who embodied Alberich’s desperate hate. He also showed a sense of timing, both musical and dramatic.

Singing the part of Gunther was Evgeny Nikitin (like Mr. Petrenko, a bass). At his best, he was glowing and virile. In other moments, he suffered some roughness, but never fell on his face. And Valeria Stenkina, the Guntrune, owns a very Russiansounding soprano, and a beautiful one. Full of character, this voice. It would be enjoyable to hear her in larger roles.

The production of “Götterdämmerung” is probably the most interesting in the Kirov “Ring.” (And remember, these shows are jointly produced by Mr. Gergiev and George Tsypin.) It is beautifully and imaginatively lit by Gleb Filshtinsky, and beautifully and imaginatively costumed by Tatiana Noginova. Moreover, the stage direction is commendable — I think of the scene in which Alberich appears to Hagen in a dream.

I have mentioned, throughout this “Ring,” the immense creatures who loom over the goingson. In “Götterdämmerung,” they are headless. At the end, little creatures are atop their backs. Who are these creatures, large and small? What do they mean? I don’t know, and, frankly, I don’t care. I am an old-schooler who thinks that productions should be at least basically comprehensible.

Last to discuss is the work itself — “The Ring” itself — that immortal achievement by Wagner. Elementary teaching says that your piece should have a good beginning and a good ending. “The Ring” begins with one of the greatest beginnings in music — that rolling and building E-flat major chord, suggesting the Rhine — and ends with one of the greatest endings in music: the Immolation Scene. The music in between isn’t too shabby either. In any “Ring” — no matter who is singing, conducting, or producing — the number-one star is Wagner. I have frequently called him a devil-angel. He, in his sole person, combined some of the worst of humanity, and some of the best.