Over three dates, the Los Angeles Philharmonic showed “Das Rheingold,” the iconic prologue of Wagner’s Ring cycle, led by one of the world’s greatest living conductors, Gustavo Dudamel.

In celebration of architect and USC alum Frank Gehry, the spectacle inside the Walt Disney Concert Hall that Gehry himself designed filled The Music Center of Los Angeles County with the evergreen delights of an operatic milestone, interpreted and presented superbly.

Daily headlines, sent straight to your inbox.

Subscribe to our newsletter to keep up with the latest at and around USC.

Gehry’s emblematic flowing lines encapsulate an acoustic masterpiece. Already, Walt Disney Concert Hall is a remarkable structure from the outside. Beyond that, however, one need not take more than one look inside the hall and hear more than a single chord of music to comprehend the achievement of creating such a space. Even for those in the very back, the irreplaceable sound of one of the world’s vanguard orchestras is present and astonishing, even more so when a show like this past weekend’s is put on.

The music and libretto speak for themselves; Wagner created a masterpiece with his Ring cycle that has endured from 1876 until today in both influence and relevance. Some of the greatest works in literary history are argued to have drawn inspiration from this story, and the fresh musical concept of the “leitmotif” was largely introduced to the collective artistry of humanity by Wagner at that time. The ripples of this innovation can be seen in any film score of today.

The Los Angeles Philharmonic’s rendition of “Das Rheingold” was to be grand from the start. What made it grander, however, was the field marshal of it all. A man of not great physical stature but a bountiful, joyous presence the likes of which many may never see, Gustavo Dudamel took to the stage and received a well-deserved raucous applause from an audience that largely came to see him. And they were right to.

It is rare for a conductor to anoint themselves in the annals of pop culture celebrities. Historically, many conductors known to the general public also happen to be acclaimed composers (take an example as far back as Mozart and one as recent as Bernstein). Largely, however, Dudamel is known for his art at the mast of an orchestra and his unmatched energy in doing so. One can talk about his hands, sways, jumps and shakes; however, what left the biggest impression was Dudamel’s eyes.

Strangely, the audience never really saw his eyes during the performance. The audience has his back to see and that only. His gray hair bounces and shakes as he does, injecting energy into the show he puts on. However, they could see how he leaned in and looked at the musicians in front of him. It was clear — this man was not leading a work group; he was fraternizing with fellow creatives. He did not need to exert himself so that his interpretation of the music was understood.

Every person on that stage, apart from being among the most refined musicians in the world, possesses a quality instilled in them by Dudamel. They want to follow him. Some keep their stares serious. Others smirk at their conductor. All of them are perfect. Yes, part of this is because they are tremendously talented and well-trained. Another part is the connection clearly built between Dudamel and every single one of them. They did not have to speak with anything but their looks. The work, truly, was already done.

From beginning to end, the orchestra shone with the guiding light of a Dudamel, who stayed true to his reputation. They were not just a well-oiled machine; they played with thunderous emotion throughout. Wagner’s work can sometimes be regimented, especially as his leitmotifs take over and establish structure. However, this interpretation, while staying within the bounds of the music as written, beautifully and vivaciously showed many a tone.

At times, it was hilarious. Simon O’Neill’s Loge interacted more than once with the conductor, and they shared a look and a laugh that the audience enjoyed thoroughly. At times, it was mischievous. The strings rode high in the air, violins twisting and turning like leaves in strong winds and shouldering more weight than one might expect. At times, their sheer personality was awe-inspiring, sometimes from their imposition but also because of their mellow quality.

Another highlight was the iconic opening of the opera, which Dudamel expertly transformed from a soft lull into a spectacle of light. Simultaneously, the Rhinemaidens (played by Ann Toomey, Alexandria Shiner and Taylor Raven) presented carelessness and fragility, pride and regret, laughter and wails.

The stern words of the giant brothers Fasolt (Morris Robinson) and Fafner (Peixin Chen) seemed twice as intimidating when pronounced alongside a defiant and unabashed set of horns.

Finally, Donner’s (Kyle Albertson) bridge led the gods to Valhalla and everyone present to an overwhelming desire to hear more. This transcendental conclusion crescendoed into a reflection of events transpired and the end of the prologue to one of opera’s most emblematic stories. Through this, the audience saw the fear and lament of the power-hungry Wotan (Ryan Speedo Green) expressed so wholly that one might even feel sympathy for the gods before remembering their hubris.

Dudamel is set to leave the L.A. Phil in 2026, which some say leaves it in uncertainty for the future. To the citizens of this city and the students at this University — be certain that you will not regret taking any and every opportunity to see what this world-class orchestra can give. Be certain that you will regret not seeing one of the world’s most admirable conductors do precisely what he’s always done: play landmark music with childlike joy.