Walt Disney Concert Hall (LA Philharmonic) 10 January 2020 - Mehta Conducts Wagner & More | GoComGo.com

Mehta Conducts Wagner & More

Walt Disney Concert Hall (LA Philharmonic), Los Angeles, USA
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Friday 10 January 2020
11 AM
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Important Info
Type: Classical Concert
City: Los Angeles, USA
Starts at: 11:00
Acts: 3
Intervals: 2
Duration:

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Programme
Richard Wagner: Götterdämmerung
Richard Wagner: Chamber Symphony no. 1 in E major, Op.9
Richard Wagner: Six Pieces For Orchestra, Op.6
Richard Wagner: Concerto for nine instruments, Op.24
Overview

Mehta takes an adventurous look at music from the 19th to the 20th centuries.

Mehta leads an adventurous look at German Romanticism as it develops into the birth of 20th-century music, from the lushness of the full orchestra in Wagner’s final Ring opera to the concentrated brevity of Webern’s nine-instrument concerto.

Programs, artists, dates, prices and availability subject to change.

Götterdämmerung (Twilight of the Gods) closes Wagner's Ring tetralogy. The youthful hero Siegfried falls victim to a scheme by Hagen and gets killed. His beloved Brünnhilde finally sacrifices herself to free the ring of its curse. The finale sees Valhalla and the gods go down, while the amazed people are free to create a better fate for themselves...

The production of the Ring tetralogy at the Vienna State Opera is by Sven-Eric Bechtolf, who has created a series of directorial works at the Haus am Ring. Wrapped in a timelessness, he tells the Ring story as a model of the world, whereby the director does not want to set any concrete contemporary political or social interpretations: "If one refrains from beautiful blue-eyedness and refrains from moving smoothly from A to B, the Ring is worldly even without a "message". Despite or through abstraction. Rich in conflict, not stringent. Completely contradictory, but effective. In my eyes, it touches on the big questions and issues of our existence in a richly associative way, without having answered anything or held out the prospect of anything."

"In my opinion, Wagner didn't write the Ring for the stage, but for his head theater. He closed his eyes and experienced a theater that could do anything. If we were to see the movie that Wagner had in his head and hear the music, then perhaps he really would have achieved what he wanted: catharsis." (Sven-Eric Bechtolf)

"What is striking about the music of Götterdämmerung in comparison to the other parts of the Ring in this context is that the music of the Ring has now become old, so to speak, with the long history of the tetralogy's creation, and not just because of changes in Wagner's writing style; rather, what is fascinating is how Wagner succeeded in dramaturgically combining his musical language, which had matured after his experiences with Tristan and Isolde and the Meistersinger von Nürnberg, with the immanent historicity of the Ring narrative, a tendency that is already apparent in Siegfried . But what still sounded unbrokenly positive and youthful in the final act of Siegfried now appears aged with the opening of the curtain to the Norn scene, like music that has acquired a patina." (Tobias Janz)

Short Summary

In the final part of the Nibelung tetralogy, Siegfried goes out into the world, gets caught up in Hagen's intrigues and is murdered by him. Dying, he remembers his love for Brünnhilde. She finally succeeds in cleansing the ring of its curse before the Rhine regains it. Valhalla, the castle of the gods, goes up in flames and the people witness the downfall of the race of gods with great emotion.

History
Premiere of this production: 17 August 1876, Bayreuth Festspielhaus

Götterdämmerung (Twilight of the Gods) is the last in Richard Wagner's cycle of four music dramas titled Der Ring des Nibelungen (The Ring of the Nibelung, or The Ring for short).

Synopsis

ACT I

Hagen, son of Alberich, advises his half-brother Gunther and Gunther’s sister Gutrune on how to advance the fame of the Gibichungs: Gunther should marry Brünnhilde and Gutrune Siegfried. Siegfried enters, and, at Hagen’s prompting, Gutrune hands him a magic potion that immediately causes Siegfried to forget Brünnhilde – he falls in love with Gutrune. In order to win her, he promises to fetch Brünnhilde from the Valkyries’ rock for Gunther. After swearing an oath of blood brotherhood with Gunther, Siegfried departs to bring back Brünnhilde for Gunther.

In the meantime, Brünnhilde’s sister, the Valkyrie Waltraute, comes to visit Brünnhilde. She begs her sister to return the ring to the Rhinemaidens so that the curse may be lifted. However, Brünnhilde refuses to give up the ring, as it was Siegfried’s pledge of love to her.

Siegfried appears, transformed by the Tarn helmet into the figure of Gunther; he strides through the fire and overpowers Brünnhilde. As a sign of her marriage – to Gunther – he tears the ring from her finger.

ACT II

At night, Alberich urges his son Hagen to win back the ring for him. When Brünnhilde arrives with Gunther, she sees that Siegfried and Guntrune are a couple and, spying the ring on Siegfried’s hand, she accuses him of betraying her. Siegfried denies any wrongdoing, but Hagen, Gunther and Brünnhilde plot to kill him. 

ACT III

Out hunting, Siegfried meets the Rhinemaidens, who beg him to give them the ring and warn him of its curse. Siegfried nonetheless keeps the ring. The hunting party joins him, and at the request of Hagen, Siegfried tells them the story of his life. As he talks, Hagen hands him a potion that restores his memories of Brünnhilde. Hagen regards this as an admission of betrayal and thrusts his spear into Siegfried’s back. As he dies, Siegfried recalls his love for Brünnhilde.

In the fight for possession of the ring, Hagen kills Gunther, but Brünnhilde now asserts her primary right to Siegfried – and the ring: she orders a funeral pyre to be built for Siegfried and then throws herself into the flames. The Rhine floods its banks and consumes the pyre, the three Rhinemaidens drag Hagen, who wants to keep the ring for himself, into the depths of the river, and the ring falls back into the Rhine. As Valhalla goes up in flames, with great anxiety humans witness the twilight of the Gods. 

Prologue

The three Norns, daughters of Erda, gather beside Brünnhilde's rock, weaving the rope of Destiny. They sing of the past and the present, and of the future when Wotan will set fire to Valhalla to signal the end of the gods. Without warning, their rope breaks. Lamenting the loss of their wisdom, the Norns disappear.

As day breaks, Siegfried and Brünnhilde emerge from their cave, high on a mountaintop surrounded by magic fire. Brünnhilde sends Siegfried off to new adventures, urging him to keep their love in mind. As a pledge of fidelity, Siegfried gives her the ring of power that he took from Fafner's hoard. Bearing Brünnhilde's shield and mounting her horse Grane, Siegfried rides away as an orchestral interlude (Siegfried's Journey to the Rhine) starts.

Act 1

The act begins in the Hall of the Gibichungs, a population dwelling by the Rhine. Gunther, lord of the Gibichungs, sits enthroned. His half-brother and chief minister, Hagen, advises him to find a wife for himself and a husband for their sister Gutrune. He suggests Brünnhilde for Gunther's wife, and Siegfried for Gutrune's husband. He reminds Gutrune that he has given her a potion that she can use to make Siegfried forget Brünnhilde and fall in love with Gutrune; under its influence, Siegfried will win Brünnhilde for Gunther. Gunther and Gutrune agree enthusiastically with this plan.

Siegfried appears at Gibichung Hall, seeking to meet Gunther. Gunther extends his hospitality to the hero, and Gutrune offers him the love potion. Unaware of the deception, Siegfried toasts Brünnhilde and their love. Drinking the potion, he loses his memory of Brünnhilde and falls in love with Gutrune instead. In his drugged state, Siegfried offers to win a wife for Gunther, who tells him about Brünnhilde and the magic fire which only a fearless person can cross. They swear blood-brotherhood (Hagen holds the drinking horn in which they mix their blood, but he does not join in the oath) and leave for Brünnhilde's rock. Hagen, left on guard duty, gloats that his so-called masters are unwittingly bringing the ring to him (Monologue: Hagen's watch).

Meanwhile, Brünnhilde is visited by her Valkyrie sister Waltraute, who tells her that Wotan returned from his wanderings with his spear shattered. Wotan is dismayed at losing his spear, as it has all the treaties and bargains he has made—everything that gives him power—carved into its shaft. Wotan ordered branches of the World tree, to be piled around Valhalla; sent his magic ravens to spy on the world and bring him news; and currently waits in Valhalla for the end. Waltraute begs Brünnhilde to return the ring to the Rhinemaidens, since the ring's curse is now affecting their father, Wotan. However, Brünnhilde refuses to relinquish Siegfried's token of love, and Waltraute rides away in despair.

Siegfried arrives, disguised as Gunther by using the Tarnhelm, and claims Brünnhilde as his wife. Though Brünnhilde resists violently, Siegfried overpowers her, snatching the ring from her hand and placing it on his own.

Act 2

Hagen, waiting by the bank of the Rhine, is visited in his semi-waking sleep (sitting up, eyes open, but motionless) by his father, Alberich. On Alberich's urging, he swears to kill Siegfried and acquire the ring. Alberich exits as dawn breaks. Siegfried arrives via Tarnhelm-magic, having resumed his natural form and left Brünnhilde on the boat with Gunther. Hagen summons the Gibichung vassals to welcome Gunther and his bride. He does this by sounding the war-alarm. The vassals are surprised to learn that the occasion is not battle, but their master's wedding and party.

Gunther leads in a downcast Brünnhilde, who is astonished to see Siegfried. Noticing the ring on Siegfried's hand, she realizes she has been betrayed—that the man who conquered her was not Gunther, but Siegfried in disguise. She denounces Siegfried in front of Gunther's vassals and accuses Siegfried of having seduced her himself. Siegfried, who does not remember ever having been Brünhilde's lover, places his hand on Hagen's spear and swears by it that her accusations are false. Brünnhilde seizes the tip of the spear and swears that they are true. Once again Hagen supervises silently as others take oaths to his advantage. But this time, since the oath is sworn on a weapon, the understanding is that if the oath is proven false, the weapon's owner should avenge it by killing the perjurer with that weapon. Siegfried then leads Gutrune and the bystanders off to the wedding feast, leaving Brünnhilde, Hagen, and Gunther alone by the shore. Deeply shamed by Brünnhilde's outburst, Gunther agrees to Hagen's suggestion that Siegfried must be killed in order for Gunther to regain his standing. Brünnhilde, seeking revenge for Siegfried's manifest treachery, joins the plot and tells Hagen that Siegfried would be vulnerable to a stab in the back. Hagen and Gunther decide to lure Siegfried on a hunting-trip and murder him. They sing a trio in which Brünnhilde and Gunther vow in the name of Wotan, "guardian of oaths", to kill Siegfried, while Hagen repeats his pledge to Alberich: to acquire the ring and rule the world through its power.

Act 3

In the woods by the bank of the Rhine, the Rhinemaidens mourn the lost Rhine gold. Siegfried happens by, separated from the hunting party. The Rhinemaidens urge him to return the ring and avoid its curse, but he laughs at them and says he prefers to die rather than bargain for his life. They swim away, predicting that Siegfried will die and that his heir, a lady, will treat them more fairly.

Siegfried rejoins the hunters, who include Gunther and Hagen. While resting, he tells them about the adventures of his youth. Hagen gives him another potion, which restores his memory, and he tells of discovering the sleeping Brünnhilde and awakening her with a kiss. Hagen stabs him in the back with his spear. The others look on in horror, and Hagen explains in three words ("Meineid rächt' ich!" – "I have avenged perjury!") that since Siegfried admitted loving Brünnhilde, the oath he swore on Hagen's spear was obviously false, therefore it was Hagen's duty to kill him with it. Hagen calmly walks away into the wood. Siegfried recollects his awakening of Brünnhilde and dies. His body is carried away in a solemn funeral procession (Siegfried's funeral march) that forms the interlude as the scene is changed and recapitulates many of the themes associated with Siegfried and the Wälsungs.

Back in the Gibichung Hall, Gutrune awaits Siegfried's return. Hagen arrives ahead of the funeral party. Gutrune is devastated when Siegfried's corpse is brought in. Gunther blames Siegfried's death on Hagen, who replies that Siegfried had incurred the penalty of his false oath, and further, claims the ring on Siegfried's finger by right of conquest. When Gunther objects, Hagen appeals to the vassals to support his claim. Gunther draws his sword but Hagen attacks and easily kills him. However, as Hagen moves to take the ring, Siegfried's hand rises threateningly. Hagen recoils in fear.

Brünnhilde makes her entrance and issues orders for a huge funeral pyre to be assembled by the river (the start of the Immolation Scene). She takes the ring and tells the Rhinemaidens to claim it from her ashes, once fire has cleansed it of its curse. Lighting the pyre with a firebrand, she sends Wotan's ravens home with "anxiously longed-for tidings", and to fly by the magic fire for Loge to fulfill his task. After an apostrophe to the dead hero, Brünnhilde mounts her horse Grane and rides into the flames.

A sequence of leitmotifs portray the fire flaring up, and the hall of the Gibichungs catching fire and collapsing. The Rhine overflows its banks, quenching the fire, and the Rhinemaidens swim in to claim the ring. Hagen tries to stop them but they drag him into the depths and drown him. As they celebrate the return of the ring and its gold to the river, a red glow is seen in the sky. As the Gibichungs watch, the interior of Valhalla is finally seen, with gods and heroes visible as described by Waltraute in Act 1. Flames flare up in the Hall of the Gods, hiding it and them from sight completely. As the gods are consumed in the flames, the curtain falls to the sound of the Erlösungsmotif—the redemption leitmotif.

Venue Info

Walt Disney Concert Hall (LA Philharmonic) - Los Angeles
Location   111 South Grand Avenue

The Walt Disney Concert Hall at 111 South Grand Avenue in downtown Los Angeles, California, is the fourth hall of the Los Angeles Music Center and was designed by Frank Gehry. It opened on October 24, 2003. Bounded by Hope Street, Grand Avenue, and 1st and 2nd Streets, it seats 2,265 people and serves, among other purposes, as the home of the Los Angeles Philharmonic orchestra and the Los Angeles Master Chorale. The hall is a compromise between an arena seating configuration, like the Berliner Philharmonie by Hans Scharoun, and a classical shoebox design like the Vienna Musikverein or the Boston Symphony Hall.

Lillian Disney made an initial gift of $50 million in 1987 to build a performance venue as a gift to the people of Los Angeles and a tribute to Walt Disney's devotion to the arts and to the city. The Frank Gehry–designed building opened on October 24, 2003. Both Gehry's architecture and the acoustics of the concert hall, designed by Minoru Nagata, the final completion supervised by Nagata's assistant and protege Yasuhisa Toyota, have been praised, in contrast to its predecessor, the Dorothy Chandler Pavilion.

The project was initiated in 1987, when Lillian Disney, widow of Walt Disney, donated $50 million. Frank Gehry delivered completed designs in 1991. Construction of the underground parking garage began in 1992 and was completed in 1996. The garage cost had been $110 million, and was paid for by Los Angeles County, which sold bonds to provide the garage under the site of the planned hall. Construction of the concert hall itself stalled from 1994 to 1996 due to lack of fundraising. Additional funds were required since the construction cost of the final project far exceeded the original budget. Plans were revised, and in a cost-saving move the originally designed stone exterior was replaced with a less costly stainless steel skin. The needed fundraising restarted in earnest in 1996, headed by Eli Broad and then-mayor Richard Riordan. Groundbreaking for the hall was held in December 1999. Delay in the project completion caused many financial problems for the county of LA. The County expected to repay the garage debts by revenue coming from the Disney Hall parking users.

Upon completion in 2003, the project cost an estimated $274 million; the parking garage alone cost $110 million. The remainder of the total cost was paid by private donations, of which the Disney family's contribution was estimated to $84.5 million with another $25 million from The Walt Disney Company. By comparison, the three existing halls of the Music Center cost $35 million in the 1960s (about $190 million in today's dollars).

The design of the hall included a large concert organ, completed in 2004, which was used in a special concert for the July 2004 National Convention of the American Guild of Organists. The organ had its public debut in a non-subscription recital performed by Frederick Swann on September 30, 2004, and its first public performance with the Philharmonic two days later in a concert featuring Todd Wilson.

The organ's façade was designed by architect Frank Gehry in consultation with organ consultant and tonal designer Manuel Rosales. Gehry wanted a distinctive, unique design for the organ. He would submit design concepts to Rosales, who would then provide feedback. Many of Gehry's early designs were fanciful, but impractical: Rosales said in an interview with Timothy Mangan of The Orange County Register, "His earliest input would have created very bizarre musical results in the organ. Just as a taste, some of them would have had the console at the top and pipes upside down. There was another in which the pipes were in layers of arrays like fans. The pipes would have had to be made out of materials that wouldn't work for pipes. We had our moments where we realized we were not going anywhere. As the design became more practical for me, it also became more boring for him." Then, Gehry came up with the curved wooden pipe concept, "like a logjam kind of thing," says Rosales, "turned sideways." This design turned out to be musically viable.

The organ was built by the German organ builder Caspar Glatter-Götz under the tonal direction and voicing of Manuel Rosales. It has an attached console built into the base of the instrument from which the pipes of the Positive, Great, and Swell manuals are playable by direct mechanical, or "tracker" key action, with the rest playing by electric key action; this console somewhat resembles North-German Baroque organs, and has a closed-circuit television monitor set into the music desk. It is also equipped with a detached, movable console, which can be moved about as easily as a grand piano, and plugged in at any of four positions on the stage, this console has terraced, curved "amphitheatre"-style stop-jambs resembling those of French Romantic organs, and is built with a low profile, with the music desk entirely above the top of the console, for the sake of clear sight lines to the conductor. From the detached console, all ranks play by electric key and stop action.

In all, there are 72 stops, 109 ranks, and 6,125 pipes; pipes range in size from a few inches/centimeters to the longest being 32 feet (9.75m) (which has a frequency of 16 hertz).

The organ is a gift to the County of Los Angeles from Toyota Motor Sales, U.S.A., Inc. (the U.S. sales, marketing, service, and distribution arm of Toyota Motor Corporation).

The Hollywood Bowl

The Hollywood Bowl is an amphitheatre in the Hollywood Hills neighborhood of Los Angeles, California. It was named one of the 10 best live music venues in the United States by Rolling Stone magazine in 2018.

The Hollywood Bowl is known for its distinctive bandshell, originally a set of concentric arches that graced the site from 1929 through 2003, before being replaced with a larger one to begin the 2004 season. The shell is set against the backdrop of the Hollywood Hills and the famous Hollywood Sign to the northeast.

The "bowl" refers to the shape of the concave hillside into which the amphitheater is carved. The Bowl is owned by the County of Los Angeles and is the home of the Hollywood Bowl Orchestra, the summer home of the Los Angeles Philharmonic, and the host venue for hundreds of musical events each year.

It is located at 2301 North Highland Avenue, west of the (former) French Village. It is north of Hollywood Boulevard and approximately 1 mile (1.6 km) from the Hollywood/Highland Metro Rail station. It is adjacent to U.S. Route 101.

The site of the Hollywood Bowl was chosen in 1919 by William Reed and his son H. Ellis Reed, who were dispatched to find a suitable location for outdoor performances by the members of the newly formed Theatre Arts Alliance, headed by Christine Wetherill Stevenson. The Reeds selected a natural amphitheater, a shaded canyon and popular picnic spot known as 'Daisy Dell' in Bolton Canyon, which was chosen for its natural acoustics and its proximity to downtown Hollywood. The Community Park and Art Association, then headed by F. W. Blanchard, was the first organization to begin building the Bowl.

One of the earliest performances at the Bowl was Hollywood High School's Performance of Shakespeare's Twelfth Night. The Women's World Peace Concert was held on November 11, 1921. On November 11, 1921, the first Sunrise Service took place at the bowl, in one of its first major events. With the building of the first actual stage, consisting of little more than wooden platforms and canvas, The Bowl officially opened on July 11, 1922.

Important Info
Type: Classical Concert
City: Los Angeles, USA
Starts at: 11:00
Acts: 3
Intervals: 2
Duration:
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