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Glass: Akhnaten Box set


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Audio CD, Box set, October 25, 1990
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Product Details

  • Orchestra: The Stuttgart State Opera Orchestra & Chorus
  • Conductor: Dennis Russell Davies
  • Composer: Philip Glass
  • Audio CD (October 25, 1990)
  • Number of Discs: 2
  • Format: Box set
  • Note on Boxed Sets: During shipping, discs in boxed sets occasionally become dislodged without damage. Please examine and play these discs. If you are not completely satisfied, we'll refund or replace your purchase.
  • Label: CBS Masterworks
  • ASIN: B0000026GR
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (36 customer reviews)
  • Amazon Best Sellers Rank: #137,208 in Music (See Top 100 in Music)

Disc: 1
1. Akhnaten: Act 1, Prelude: Refrain, Verse 1, Verse 2
2. Akhnaten: Act 1, Prelude: Verse 3
3. Akhnaten: Act 1, Scene 1: Funeral of Amenhotep III
4. Akhnaten: Act 1, Scene 2: The Coronation of Akhnaten
5. Akhnaten: Act 1, Scene 3: The Window of Appearances
6. Akhnaten: Act 2, Scene 1: The Temple
7. Akhnaten: Act 2, Scene 2: Akhnaten and Nefertiti
Disc: 2
1. Akhnaten: Act 2, Scene 3: The City. Dance (Beginning), Narration: The City
2. Akhnaten: Act 2, Scene 3: The City. Dance (Conclusion)
3. Akhnaten: Act 2, Scene 4: Hymn
4. Akhnaten: Act 3: Year 17 and the Present - Akhetaten, Scene 1: The Family
5. Akhnaten: Act 3: Year 17 and the Present - Akhetaten, Scene 2: Attack and Fall
6. Akhnaten: Act 3: Year 17 and the Present - Akhetaten, Scene 3: The Ruins
7. Akhnaten: Act 3: Year 17 and the Present - Akhetaten, Scene 4: Epilogue

Customer Reviews

4.5 out of 5 stars
5 star
26
4 star
7
3 star
0
2 star
1
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See all 36 customer reviews
A virtually flawless work of Genius.
Steven Cain
There are few things that should be required of all human beings, and listening to this music is one of them.
Michael Spitz
The discs are well-recorded, with the orchestra, large chorus, and soloists in excellent balance throughout.
Bret D. Whissel

Most Helpful Customer Reviews

36 of 36 people found the following review helpful By Allen Ruch on February 18, 2000
Format: Audio CD
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.
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21 of 21 people found the following review helpful By Bret D. Whissel on February 3, 1999
Format: Audio CD
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".
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13 of 13 people found the following review helpful By DAC Crowell on March 29, 2000
Format: Audio CD
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.
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5 of 5 people found the following review helpful By A Customer on September 3, 1999
Format: Audio CD
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.
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5 of 5 people found the following review helpful By Grady Harp HALL OF FAMETOP 50 REVIEWERVINE VOICE on April 1, 2006
Format: Audio CD
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.
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