Ottmar Liebert & Luna Negra

Events

Feb 17 Fri
Ottmar Liebert & Luna Negra6:30 PM
Blue Note Napa
Feb 17 Fri
Ottmar Liebert & Luna Negra9:00 PM
Blue Note Napa
Feb 18 Sat
Ottmar Liebert & Luna Negra6:30 PM
Blue Note Napa
Feb 18 Sat
Ottmar Liebert & Luna Negra9:00 PM
Blue Note Napa
Feb 19 Sun
Ottmar Liebert & Luna Negra3:00 PM
Blue Note Napa
Feb 19 Sun
Ottmar Liebert & Luna Negra6:30 PM
Blue Note Napa
Photo: Greg Gorman
BLUE NOTE NAPA is located on the 1st floor of the Historic Napa Valley Opera House. We are an intimate 182 person seated live music club and restaurant where you may enjoy performances of world renowned and local Bay Area artists alike. We offer a dinner menu with an elegant wine and cocktail list in all seating sections. Ages 8+

HOUSE POLICIES*
  • All ticket prices per person.
  • Seating is first come, first seated in area purchased.
  • 2 Drink Minimum
  • No Babies
  • We recommend arriving 30 min before door time to get best choice of seating. 
* Policies are subject to change



BOOTHS: Price listed is per person

Booth for 4: Requires mininum of 4 seats to be purchased. Price is per person. Seating is first come, first seated. Not available as singles or pairs. You will be seated when you arrive. (dark green)

Booth for 5 or 6: Requires 5 or 6 seats to be purchased. Price is per person. Seating is first come, first seated. Not available as singles or pairs. You will be seated when you arrive. (light green)

PREMIUM SEATING

Floor Tables: The closest tables on the floor to the stage. First come, first seated. Pairs are seated across from one another. (dark blue)

High Bar: Great view! Chairs are tall with backs and padded seats. Seating is first come, first seated.(bright blue)

Side Stage: Stage level table seating w/ chairs. First come, first seated. Pairs are seated across each other.(Purple)

Center Platform: An elevated viewing section with fantastic sight lines to the stage. Table seating with tall chairs that have backs and padded seats. First come, first seated. Pairs are seated across from each other (light blue)

ADA seating is for those that require accessible seating.  Companions purchase Premium Floor Table Seating. (dark blue)

SIDE SEATING Bar stool seating at the Bar or on our side bar. Tall chairs have backs and padded seats. First come, first seated. (red)

Please contact our Box Office with any special needs or accommodation requests.
  • Venue is Ages 8 + (w/ children under 16 to be accompanied by an adult) unless otherwise specified.
  • No babies please.
  • No refunds / cameras/ vaping/ smoking/ outside food or drink.
1030 Main Street, Napa CA 94559
Box Office: boxoffice@bluenotenapa.com or 707.880.2300

Ottmar Liebert

Ottmar Liebert’s global success can be attributed to a myriad of things - his creative vision, his determination, and a strong sense of melody. Born in Cologne, Germany, he began playing guitar at 11. Before the age of 19, Liebert had intended to stay in Germany and pursue a career as a designer and photographer.  However, while journeying extensively through Asia and playing with other travelers and local musicians, he realised that he could not escape a life of music. After pursuing his dreams of playing rock music in Boston, he settled in Santa Fe, New Mexico.  Santa Fe was a fresh start for Liebert in many ways and in addition to returning to the acoustic guitar, he remained open to letting the place define the music he made. It was this openness to the local landscape that defined what was to become his musical style, a mix of Spanish, Mexican and World elements, strong melodies tinged with a shade of melancholy, balanced with upbeat rhythms.

Liebert founded the first incarnation of his band, Luna Negra, in 1989. His debut album began as a self-produced release called Marita: Shadows and Storms, copies of which local Native American artist, Frank Howell, distributed in his art galleries.  After the record made its way to radio stations, it began generating a buzz among programmers and received unprecedented response among listeners.  Higher Octave Music picked it up and released a fully remastered version, Nouveau Flamenco.  Recorded for less than $3,000 on an old analog machine in a shack beside a gravel pit, this CD became an international sensation, establishing  Liebert's unique border-style flamenco, and becoming the best-selling instrumental acoustic guitar album of all time: 

2 x Platinum - USA
14 x Platinum - USA/Latin
Platinum - Australia
Platinum - New Zealand
Gold - Canada
Gold - Mexico

Visual art has always been essential to Ottmar Liebert's world-view and even today he is an avid photographer.  "My music is visual," Liebert says. "Santa Fe has great light, that special thing you get in the high desert. Some days you can see for 100 miles, and think you can reach into the sky or walk off a ridge and keep flying. That's how I felt when I recorded Nouveau Flamenco."

Liebert has since become one of the most successful instrumental artists of the past decades, entertaining audiences around the world and releasing a catalog of 33 classic albums including live recordings, an orchestral album for Sony Classical, a binaural surround sound recording, remix albums, a lullaby and a flamenco-reggae album.  During his career, he has played more than two thousand concerts worldwide.  Ottmar Liebert and Luna Negra have played two concerts with the New Mexico Philharmonic featuring Liebert’s music arranged by bassist, Jon Gagan.  These two concerts, to date, have broken attendance records for the New Mexico Philharmonic.  Ottmar Liebert has been nominated for five Grammy awards.

Of Liebert’s thirty-three albums, there are some that stand out.

Borrasca (1991) was Grammy nominated, but it is exceptional in Liebert’s mind for another reason.  Although everyone wanted him to make another Nouveau Flamenco, this album went in a different direction.  He added horns and piano, giving the album a different vibe and sound.

Solo Para Ti (1992) featured two songs on which Carlos Santana played. Santana’s was the first concert Ottmar Liebert ever attended and he was a huge influence on Liebert’s melodic playing.

The Hours Between Nights + Day (1993), nominated for a Grammy, mixed the Japanese koto, with the flamenco guitar; on this album, Liebert used his electric guitar for the first time since the mid-eighties, and combined programmed drums with live percussion. He also ingeniously layered field recordings with the original music creating a musical odyssey that is dreamy and atmospheric. The album contains the only Spanish language version of the Marvin Gaye hit Mercy, Mercy Me

Opium (1996), again nominated for a Grammy, was the first album recorded in Liebert’s new studio in Santa Fe.  Liebert received many accolades for this album from fans around the world and emails and letters from listeners describing how evocative Opium was. 

La Semana (2004) was the first album Liebert engineered by himself.  It was the first time there was no sound engineer on the “other side of the glass” and Liebert discovered that at first, he played what he had planned  but then after he dropped this, it was just “pure play”.

One Guitar (2006), also nominated for a Grammy, was a milestone album for Ottmar Liebert in that it was his first solo guitar album.

Waiting n Swan (2015) is special to Liebert because to him it reconnects two branches of rhythm - tangos flamenco and reggae, proving that there is no such thing as “purity” in music.

slow (2016) is an album which Liebert felt it was incumbent upon him to make a statement against the sound of billions of smart phones beeping with the latest news, likes and comments, keeping us in a state of constant alarm.  His album is framed around the notion that a slow tempo can change listeners’ heartbeats and blood pressure.

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