The Hollywood Bowl is more than a venue: It’s a collection of stories.
The morning in 1921 when the Los Angeles Philharmonic played its first Easter sunrise service on a small wooden platform at the hillside site of the future hatch shell. The time in 1964 when the Beatles appeared before 18,700 histrionic fans in a show that sold out in less than four hours. The 1980 debut of Jazz at the Bowl, featuring Joe Williams, Dave Brubeck, George Shearing, B.B. King, Muddy Waters and Big Joe Turner.
the Prussian-born conductor “Papa” Alfred Hertz programmed the first Symphonies Under the Stars. Julia Ward, director of humanities for the L.A. Phil and editor of the new book “Hollywood Bowl: The First 100 Years,” said Hertz was considered the father of the Bowl and created the template for the type of classical music that would be successful at the venue throughout the 20th and early 21st centuries, including Mozart and Tchaikovsky.
It may not be possible to top the 1938 performance, but if anybody can, it’s Yuval Sharon. The MacArthur fellow and founding artistic director of L.A.’s avant-garde opera company the Industry will stage his own interpretation of Act III of “Die Walkürie.” Sharon, Smith said, is keeping the details of his plans under wraps, but word is that liberal use of green screens will help to mirror the flash and spectacle of the original event.
Lester Horton, who is credited with launching the modern dance movement in L.A., in 1937 choreographed Stravinsky’s “The Rite of Spring” at the Bowl. The event featured the rare sight of barefoot dancers moving in angular, irregular ways and marked the first time Stravinsky’s work had been choreographed by an American.
“That was groundbreaking at the time,” Ward said. “Just combining genres in that way. But he really set a model up for what a pop-and-orchestral collaboration would look like at the Bowl. And that, of course, has just continued.”
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