Lyric Opera House 4 April 2020 - Götterdämmerung (The Twilight of the Gods) | GoComGo.com

Götterdämmerung (The Twilight of the Gods)

Lyric Opera House, Chicago, USA
All photos (13)
Saturday 4 April 2020
5:30 PM
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Important Info
Type: Opera
City: Chicago, USA
Starts at: 17:30

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Overview

The tragedy of the warrior-maiden Brünnhilde, her beloved hero Siegfried, and all the gods brings nothing less than the end of one world, the beginning of a new one, and the ultimate triumph of love over evil. In the entire operatic repertoire, you won’t find greater musical and dramatic grandeur, or more staggeringly intense emotions, than in Wagner’s Twilight of the Gods. Only a work of this scale could close the monumental Ring cycle. Seeing and hearing it in a live performance is one of the greatest experiences that any operagoer can enjoy.

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

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

Lyric Opera House - Chicago
Location   20 North Wacker Drive

The world-renowned Lyric Opera of Chicago performs in one of North America's most beautiful opera houses, the Lyric Opera House at 20 North Wacker Drive.

In 2017, Lyric Opera of Chicago as house manager of the theater announced that the Joffrey Ballet planned to move from its longtime performance venue at the Auditorium Theatre to the opera house in 2020. The announcement coincided with Lyric's presentation of a new production of Gluck's Orfeo ed Euridice by choreographer John Neumeier; the production fused the musical and ballet elements of the opera and featured the Joffrey Ballet.

Opened as the Civic Opera House in 1929, the building was the vision of utility magnate Samuel Insull (1859–1938), a populist billionaire known as "the Prince of Electricity." Insull, the president of the Chicago Civic Opera Association, wanted to erect a new opera house to replace Louis B. Sullivan's Auditorium Building on South Michigan Avenue as the home of the Chicago Civic Opera — one that would be democratic in scope, and would be housed in and supported by a commercial office building.

The design team chosen by Insull, the Chicago architectural firm of Graham, Anderson, Probst & White, wanted the Civic Opera Building to symbolize "the spirit of a community which is still youthful and not much hampered by traditions." The firm was already famous for designing the Field Museum of Natural History, the Wrigley Building on North Michigan Avenue, and the Continental Illinois Bank Building on South LaSalle Street. In the 1930s the firm created the massive Merchandise Mart Building, also on the Chicago River.

From its opening on Nov. 4, 1929 (just six days after the stock-market crash) until Lyric Opera of Chicago was founded in 1954 (as Lyric Theatre), the Lyric Opera House was home to the Chicago Civic Opera, Chicago Grand Opera Company, Chicago City Opera Company and Chicago Opera Company.

Over the years the Lyric Opera House has also hosted visiting opera and dance companies, as well as touring operettas, musical shows, and a great number of orchestral, dance, and vocal concerts. The adjoining Civic Theatre, at the north end of the block-long building, was used to present plays (including the premiere of Tennessee Williams' The Glass Menagerie), dance performances, and films; for a considerable time it also served as a television studio.

The Civic Opera Building is a majestic limestone skyscraper with a 45-story office tower and two 22-story wings. Shaped like a gigantic throne facing the Chicago River between Washington and Madison streets, it was completed after just 22 months of planning and construction.

The auditorium and its backstage areas occupy approximately one-third of the total space of the building. The distinguishing feature on the Wacker Drive side of the Civic Opera Building is the colonnaded portico that runs the entire length of the building. At the south end, large bronze doors open onto the grand foyer of the Lyric Opera House, whose gilt cornices glitter beneath the sparkling lights of Austrian crystal chandeliers and elaborately stenciled ceilings.

The magnificent space, named the Daniel F. and Ada L. Rice Grand Foyer in honor of major benefactors in 1994, features a floor and wainscoting of pink and gray Tennessee marble, and fluted Roman travertine columns and pilasters. The 40-foot-high columns are topped with carved capitals covered in gold leaf. An imposing grand double staircase leads to the mezzanine foyer.

The decorative character of the entire building is a hybrid of Art Nouveau and Art Deco styles. Comedy-tragedy masks and cornucopia of instruments abound as playful ornaments around entrances, inspired by the Paris Opera House designed by Jean-Louis-Charles Garnier.

The famous painted fire curtain (depicting the parade scene from Aida) and the interior decoration details of the Lyric Opera House were created by American artist Jules Guerin in a palette of salmon pinks, roses, olives, golds and bronzes.

In 1993, Lyric Opera of Chicago purchased all of the theater and backstage space in the Civic Opera Building. Previously Lyric Opera had rented the auditorium and backstage areas.

A massive $100-million renovation of the backstage area commenced in 1993, and continued during Lyric's off-seasons (mid-March through early September) through 1996. The improvements made during this project allowed Lyric Opera to continue producing world-class opera well into the 21st century. The purchase and renovation was made possible by Lyric's $100-million "Building on Greatness" capital campaign. The Lyric Opera of Chicago/Chicago Symphony Orchestra Facilities Fund helped launch Lyric's campaign with a $50 million commitment.

The final phase of renovations took place between early April and early August of 1996 when all 3,563 seats, along with the carpeting, were removed from the auditorium so that artisans could clean and completely repaint. Previously, the theater had never been fully repainted since it opened in 1929 — just patched and touched up as needed over the years.

During the summer of 1996 more than 30 highly skilled artisans from around the country worked in the Lyric Opera House six days a week, 10 hours a day, applying 2,000 gallons of gold paint to the elegant ornamentation of the auditorium, Rice Grand Foyer, and all lobbies. The painters also hand-stenciled and hand-detailed the exquisite colorful ornamentation that adorns the Lyric Opera House ceilings.

Every seat in the auditorium was beautifully refurbished for the first time since 1929. The metal portions were repainted and the wood arms were refinished; the upholstery, seat and back of each chair were replaced. 6,000 square yards of new deep-red carpeting were installed in the theater and lobbies of the Lyric Opera House. The 31 boxes on the mezzanine level were rebuilt and enlarged by 18 inches.

A new 500-pound mainstage curtain was installed, made of 580 yards of heavy-weight wool velour and silk fringe to replicate the original 1929 curtain. All the bronze decorative features and railings in the Lyric Opera House were polished to a just-like-new sheen. The beautiful travertine marble was thoroughly cleaned.

Backstage, a 40-foot-high, 40,000-pound soundproof door was installed to acoustically separate the scenery handling area from the mainstage. During the renovation 32 miles of new rope and cable were installed backstage to update the scenery rigging system. Additionally, 170 miles of electrical wiring and 38 miles of electrical conduit were installed throughout the Lyric Opera House.

Important Info
Type: Opera
City: Chicago, USA
Starts at: 17:30
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