Customer Reviews

Akhnaten

5 star:		(24)
4 star:		(7)
3 star:		(0)
2 star:		(1)
1 star:		(2)

 

 

Akhnaten is a modern masterpiece in every way, and deserves a place in the standard repertory. Forgoing conventional narrative structure, this opera explores the controversial reign of Akhnaten through various tableau showing the Pharaoh overthrowing the religious establishment and founding a new order based on Atenism, and early form of monotheism.

Glass also explores both the controversial Oedipal and incestuous dimensions of the Pharaoh's rule, depicting his decay into a state of undifferentiated "familial" bliss using a vocalese-based musical language charged with pure emotion. Indeed, the whole opera uses music and langauge in amazing new ways, underscoring complex states of psychological being and various power relationships by contrasting languages and vocalese as well as intricate musical plotting. The fact that Akhnaten is scored for a countertenor is a stroke of genuis in itself, highlighting his almost alien nature as well as sexually controversial personality.

This opera hits at a primal level, and I cannot recommend this recording more highly. So many moments are charged with beauty, mystery, and power: the thundering funeral scene, the heartbreaking countertenor/soprano/contralto trio in the famous "Window of Appearances," the glorious Hymn to the Sun, the eerily beautiful "Family Scene," the climactic fall of Akhnaten.... simply wonderful.

I also recommend John Richardson's book about the opera, "Singing Archeology." Though somewhat overly academic in tone, it provides an invaluable key for understanding this incredible work.

I applaud both the Boston Lyric Opera and the Chicago Lyric Opera for bringing it back to American opera houses.

In Akhnaten, Philip Glass captures the essence of ancient Egyptian culture as perceived by Westerners. Much of Glass's work, of which this is a supreme example, conveys impressions to my mind without any conscious recollection of how they got there. The sheer weight of the music, implied by the brassy orchestration and methodical, relentless development, leads me to think of massive granite construction. In contrast, the other-worldly quality of the counter-tenor seems the perfect representation of the spiritually enlightened pharaoh who converts all of Egypt, though briefly, to monotheism. However, the internal, reclusive nature of this king, reflected in the hypnotic repetition typical of Glass, allows him to neglect the needs of the state to seek personal fulfillment through love and family. In the end, little is left to remind us of Akhnaten's existence as we're brought forward 3000 years to the present in the closing guidebook narration. It is the marriage of stone and spirit in this work that convinces me that Akhnaten lived, and that Egypt possessed a culture of immense proportions. And as the dream fades, I'm left with vivid impressions and a yearning to see what ancient Egypt might have been like in its cultural prime.

The discs are well-recorded, with the orchestra, large chorus, and soloists in excellent balance throughout. Of the three operas ("Einstein on the Beach" and "Satyagraha" are the predecessors), this one seems the most polished, and would probably be the best choice for those familiar with Glass from more accessible recordings, such as "Songs from Liquid Days" or "Itapu/The Canyon". In fact, the choral work of "Itapu" is reminiscent of "Akhnaten".

This work is generally considered to be part of a trilogy of 'operas', which also includes the Robert Wilson collaboration "Einstein on the Beach" and "Satyagraha". And of these, it and "Satyagraha" are the two which employ more conventional forces; "Einstein..." is more for Glass's ensemble of the mid/late-70s. So of these two 'conventional' Glass operas, I think this is perhaps the better. In here, Glass does a wonderful job of encompassing the possible musical scope and palette which larger forces have to offer. The spectacular 'Funeral of Amenhotep III' scene, for example, is a tour-de-force of what Glass was able to accomplish in these long-form works. Likewise, the subtilty of the vocal writing is something which must be experienced, most notably the skill with which Glass handles the writing for counter-tenor...not necessarily the easiest vocal part to write for! The sad part here, however, is that a mere audio recording does not really convey the sense of spectacle that these works have in a full performance, as the visual components of these operas are perhaps equal in importance with the musical content.

One of Glass's best!

I heard the Philip Glass Ensemble perform the Funeral of Amenhotep live many years ago and that set me off on a long search to find this album. Music and beats that will jerk you right out of your seat. The harmonies in the Window of Appearance are incredibly beautiful. And more on disc 2... This is an incredible work - if you like Philip Glass's work even slightly, you should by this - it is stunning.

While I was in high school, we were required to read Mika Waltari's novel, "The Egyptian," in which Akhnaten was a significant figure. The portrayal of this strange Pharaoh piqued my curiosity, and I wanted to know more. What could he have done that led his successors to attempt to obliterate his memory?

In the 1980's, Torvill and Dean toured with a group of Russian skaters, and their big second act piece was set to extended excerpts from Glass's opera. The combination of the subject and the music and the performance was powerful. It also sent me to the store to purchase the whole opera.

Now, 15 years later, I still love to listen to it, and the music still exerts its power. There is no attempt to fill in the gaps in our knowledge of Akhnaten, no speculation. Even though this is more of a series of tableaux than a story, it is compelling.

The opera is constructed around Akhnaten's "Hymn to the Sun", which bears more than a passing resemblance to Psalm 104; Glass highlights this by juxtaposing the "Hymn" in English with the Psalm in Hebrew. I felt that the tessitura of this hymn was just a bit too high for Esswood to get out the words comfortably, but this central aria is a magnificent piece.

And the ending...well, it is sad and eerie and moving and unlike anything I've ever heard before--perfect for this opera.

There has been some criticism of the narration, and while I might have enjoyed it more had it been less emphatically articulated, it lets the listener know what is going on--since everything except the Hymn is in an ancient language, and the narration is a translation of the text to come. It works magnificently in the love duet between Akhnaten and Nefertiti, another piece that must be heard.

I'm not sure that for me, however, seeing this opera would improve on the mental images the music conjures up. I know that the first two productions had wildly different images of Akhnaten: the first portrayed him as being relatively normal in appearance, while the second portrayed his as grotesquely deformed. But isn't part of Akhnaten's interest the fact that so little is known that we can each envision him in our own way?

But I digress...buy it and enjoy!

Probably the best record of Glass' vocal works. It is stunning how DR Davies works out the essence of this music "easy" only at first sight. From the very beginning, you feel, that it is not just another record, but that long weeks (months?) of rehearsal must have preceded this production. On the other hand, it is somehow a real "crossover" - even people who don't care a lot about classical music get addicted to it...

Philip Glass is a theater person whose wide popularity has been greatly enhanced by the visuals that accompany his music: the music score for the film 'The Hours', his triptych of operas about men who changed the world in science ('Einstein on the Beach'), in politics ('Satyagraha') and religion ('Akhnaten') are just a few examples. Though his works for chamber orchestra and his symphonies enjoy wide acclaim, the purely musical values inherent in his operas have for the most part been relegated to recordings. To experience the pure music live without the visuals is an experience that should happen more often. As part of the Los Angeles Philharmonic's adventurous and acclaimed 'Minimalist Jukebox' series, composer/conductor John Adams conducted important excerpts from this opera, for the first time allowing the stunned and wildly enthusiastic audience to appreciate the orchestral writing, the magnificent choral writing and the incomparable beauty of the countertenor Akhnaten (as sung by Daniel Bubeck) in the glory of the acoustic wonder of Disney Hall. The effect was overwhelming and turns the listener back to this full recording of the opera with enhanced appreciation.

'Akhnaten' is a little miracle of minimalist opera. The orchestral scoring is for large orchestra minus violins (keeping his original opera small to fit in the orchestra pit at premiere gave that idea to Glass) with an interesting array of percussion instruments. The Prelude quietly sets the pulsating, quivering tone of ancient Egypt and after a narrator sets the scene for the death of Akhnaten's father, the funeral music is wildly percussive and full of brass figurations. The choral declarations are pulsatile and beautifully balanced with the orchestra. Yet when Akhnaten's unfolds his concept of monotheism, his countertenor lines are paralleled with trumpet in a truly spiritual ambience. The death of Akhnaten as proscribed by three male soloists is echoed in the choral writing for the crowd's response. It is a visceral experience.

The recording captures all of the opera in fine, precise style and is easily a recording to return to for moments of favorite Glass writing. It is just satisfying to know that even excerpts played in a symphony hall validate the wonderful work the opera is. Highly recommended. Grady Harp, April 06

Until I heard this opera I always thought of Glass as an intellectual exercise for the ears -- interesting but mainly a demonstration of style. But with Akhnaten I felt the yearning of a soul four thousand years dead, about whom we can know so little and for whom we feel such empathy. The juxtaposition of narrative voices, ancient Egyptian chants and counter-tenor hymns are unbelievable. For me as a Jew it was especially touching to hear both the complaints about the Apiru (Habiru) and the faint echo of the future (Akhnaten's distant future, our distant past)in the psalms that mirrored so exactly Akhnaten's own words. This piece takes my breath away.

While all 3 of Glass' operas in the trilogy are superb, this one stands out! The near-perfect unity of text and music, excellent conducting, and strong character-driven performances make this a must-have!

I have had the fortune of seeing this opera (Boston Conservatory of Music, 2004). The raw haunting nature of this music found me crying at the end of the performance when
Akhenaten and his family are murdered. I was spellbound. There are few things that should be required of all human beings, and listening to this music is one of them.