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The main work tonight is a concert performance of Wagner's Valkyrie, 1st act. But before that we get to hear Sibelius' last symphony.

PROGRAM Sibelius: Symphony No. 7 Wagner: Die Walküre 1. akt

PARTICIPATING Andris Poga, conductor Eva-Maria Westbroek, soprano (Sieglinde) Christian Elsner, tenor (Siegmund) Timo Riihonen, bass (Hunding)

DURATION About. 2 hours, including break.

Finland's national composer, Jean Sibelius, wrote 7 symphonies. The latter, written in 1924-25, differs from the others in that it is difficult to divide it into movements, although there are several different character and tempo indications. But Sibelius explicitly stated that this was a one-movement symphony. The symphony is not the most played, but is distinguished by a complex and at times subtle combination of the thematic material. Many thematic fragments are often pre-empted before they get their final design. This is reminiscent of Wagner.

Richard Wagner's Der Ring des Nibelungen (often just called "The Ring") is a mammoth work of four musical dramas with a duration of approx. 18 hours. It includes Rhingullet, Valkyrien, Siegfried and Ragnarokk. It is impossible to summarize the content here without spreading it over several pages. In short, it is about love and power as well as violence. But so much can be said about the first act of the Valkyrie: After we have been introduced to mermaids, gods, demigods, giants and dwarves in the fairytale-like, mythical Rhingullet, the first humans appear in the Valkyrie. But before that, in Rhingullet, it is depicted, in music and action, how a golden age, where Wotan (Odin) rules, ends and how a humble figure becomes a dictator. Valkyrie is full of passion. It has three scenes. In the beginning, a god-willed mythological storm rages, where a totally exhausted Siegmund finally finds shelter. Sieglinde, the wife of the macho-like Hunding, finds the stranger in the living room. A fascinating love story begins, where the two's musical leitmotifs herald the embrace, long before the couple themselves take it seriously. But both, Siegmund and Sieglinde, have no future ahead of them; they are twin siblings, similar to each other in character and attitudes. But when they acknowledge this, there is no obstacle for them. Siegmund takes Sieglinde violently close to him and the carpet falls. The scene of recognition between the two has similarities with Elektra and Orestes in the Greek tragedy poet Aeschylus.

But it is the music and the song that are the driving force in Wagner's musical drama. If you first dive down here ', you are, so to speak, lost. For hours you can sit there and live in the toning universe of desire and pain. Nietzsche said the following about Wagner: "About Wagner, the musician, one could generally say that he has given everything in nature that until now would not speak, a language: he does not believe that there must be anything dumb. He also dives into the dawn, the forest, the fog, the gorge, the mountain heights, the nocturnal showers, the luster of the moon and gives them a secret desire: they will also fade out. "

ORGANIZER Stavanger Symphony Orchestra


    • Sandvigå 1
    • 4007 Stavanger
    51 53 70 00

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