Einstein on the Beach, the landmark opera by director and designer Robert Wilson, composer Philip Glass and choreographer Lucinda Childs, came back to the Brooklyn Academy of Music this weekend. It was the first time the production has been mounted in New York in twenty years. Glass’s work, both old and new, has been prominently performed across the globe over the past year as musicians celebrate the composer’s 75th birthday. Here in New York, it’s been possible to see his rarely performed early works written for the Philip Glass Ensemble, like Music in Twelve Parts (at the Park Avenue Armory in February) and now Einstein (playing through September 23rd). The composer will also be performing in September at at Pier 36. For listeners more familiar with Glass’s symphonic work written for full orchestra (like Symphony No. 9, which premiered at Carnegie Hall in January and became a surprise bestseller on iTunes) and his film scores ( Koyannisqatsi, The Hours, The Illusionist), the early work can be challenging.
The repetitive structures are far more pronounced, especially when heard within the limited instrumentation of the Ensemble. The musical and cultural contexts date to the 1970s. So does Einstein work today? Does it live up to the hype of its decade-long absence?
Yes and yes, though it is difficult to access initially. Einstein is a hard piece for a modern audience to grasp, perhaps even more so than when it debuted. Glass told this writer in January that he was shocked at how avant-garde theater has failed to evolve in the past four decades. In that respect, Einstein may be even more ahead of the theater of 2012 than that of the 1970s. Einstein's glacial sense of time is also more alien to today’s audience, because Wilson’s work is deliberately long and slow, and 2012-ers are inherently fast.
Not using a cell phone for four and a half hours can generate feelings of disorientation that the 1976 audience would never have experienced. This weekend, though, Einstein didn’t appear sluggish at all, with its nearly constant motion and its relentless score. The musical and visual movements are hard to discern at first. But the effect is similar to sitting on a plane and thinking the plane next to you is moving forward, before realizing that it’s really your own plane going in reverse. Einstein's cast (violinist Jennifer Koh in the title role on Saturday night) is exceptional and technically flawless, with singers performing by memory the kind of complicated music that usually requires sight-reading. The biggest risk as the piece began (seemingly in progress long before curtain time, as a pair of women recited barely audible numbers while starting into the house) was that it might register with the audience intellectually but not emotionally. Indeed, there were moments that were remote and cold.
'The night should be a time of peace and tranquility, a time to relax and be calm. We have need of a soothing story to banish the disturbing thoughts of the day, to set at rest our troubled minds, and put at ease our ruffled spirits.' What does any of this have to do Albert Einstein? Einstein is personified as a violinist, which he really was (though, as this writer once heard Glass say, not one 'good enough to play my music'). Wilson’s images can be interpreted as Einstein’s dreams (and nightmares) of time.
Einstein the opera challenges notions of time and space much like the man himself did. Beyond those loose guides, the work leaves room for the audience to make of things what they will. Einstein on the Beach, in the middle of a world tour, runs at the Brooklyn Academy of Music until September 23rd. The West Coast premiere will be at UC Berkeley's Zellerbach Hall, from October 26th through the 28th.
As a special addition to the season, LA Opera presents a rare revival of the groundbreaking 1976 collaboration by Robert Wilson and Philip Glass. Universally hailed as one of the greatest artistic achievements of the 20th century, Einstein on the Beach breaks all rules of conventional opera. Non-narrative in form, the work uses a series of powerful recurrent images as its main dramatic device shown in juxtaposition with abstract dance sequences created by Lucinda Childs. The Los Angeles performances will be the final North American stop of the production’s international tour. One of the most highly anticipated events of the coming season, Einstein is conceived on an epic scale. An episodic and exhilarating collage of dreamlike images arouses a childlike sense of wonder, making the strange familiar—and the familiar strange. Presented in collaboration with the Center for the Art of Performance at UCLA (CAP UCLA).
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Philip Glass
The 2012-13 production of Einstein on the Beach, An Opera in Four Acts was commissioned by BAM; the Barbican, London; Cal Performances University of California, Berkeley; Luminato, Toronto Festival of Arts and Creativity; De Nederlandse Opera/The Amsterdam Music Theatre; Opera at Orchestre National de Montpellier Languedoc-Rousillon; University Musical Society of the University of Michigan. Orginally produced in 1976 by the Byrd Hoffman Foundation. Produced by Pomegranate Arts, Inc. Click to read the program. News & Reviews. Mark Swed / Los Angeles Times October 13, 2013. Victoria Looseleaf / KCET October 8, 2013.
Jim Farber / Daily Bulletin October 7, 2013. Christie Connolley / Operagasm October 7, 2013. Tony Frankel / Stage and Cinema October 1, 2013.
David Gregson / Opera West September 30, 2013. Sep 26,2013.
Sarah A. Spitz / Santa Monica Daily Press September 25, 2013. Rick Schultz / Jewish Journal September 6, 2013. April 28, 2013. Hilton Als / The New Yorker September 17, 2012.
April 17, 2012. Sat, Oct 12, 2013 at 1:00 PM Royce Hall Join CAP UCLA Artistic and Executive Director Kristy Edmunds for a freewheeling conversation with Wilson, Glass and Childs as they return to Royce Hall in honor of their groundbreaking work. Visit for more information and tickets.
EINSTEIN EXHIBIT BY CALTECH The at is proud to present three installations at the Dorothy Chandler Pavilion during the performances of Einstein On The Beach. The exhibitions will include an installation of twelve large portraits of Albert Einstein created by the noted photographer Herman Landshoff. Entitled “Albert Einstein At Home,” the photographs present intimate yet iconic images of Einstein during the years 1946-1950, taken at his last abode at 12 Mercer Street in Princeton, NJ. Einstein was a visiting scientist at Caltech during three winter terms in the early 1930s. A second installation presents nine large panels that incorporate collages of original documents relating to Einstein’s activities while at Caltech, including newspaper clippings, photographs with distinguished scientists, visits to Mt.
Wilson Observatory, to Palm Springs, and to the movies – with Charlie Chaplin. Einstein’s interests and passions ranged widely.
He played the piano and the violin, and had wide-ranging correspondence with major figures in European and US cultural life. A third installation presents a selection of archival documents, images, and texts on music and musicians.
First staging, Backlit will reimagine the unique visual, dramatic and musical languages of Einstein on the Beach through the exhibition of props, manuscripts, stage designs and music from the venue is only open Thursdays through Sundays from 12-5pm. Detective conan wiki. Einstein on the Beach is a revolutionary Einstein on the Beach Exhibition / Nottingham This exhibition, curated by Matthew Chesney, features works by the creators of Einstein on the Beach: Lucinda of the 20th Century. Einstein on the Beach is an opera in four acts framed and connected by five.
Justin Bieber. Obituary Elaine K. (Bradley) Beal, 73 of Huntley, passed away on Wednesday, January 7, 2015 in Elgin following a lengthy illness. She was born April 8, 1941 in Davenport, Iowa, the daughter of John LeRoy Traeger and Kathryn M. She was united in marriage to Glen Beal on March 25, 1983. The couple made their home in Huntley and Elaine worked as a registered nurse in Elgin and Florida for over 30 years.
Einstein on the Beach (1976) is a pivotal work in the oeuvre of Philip Glass. It is the first, longest, and most famous of the composer's operas, yet it is in almost every way unrepresentative of them. Einstein was, by design, a glorious 'one-shot' - a work that invented its context, form and language, and then explored them so exhaustively that further development would have been redundant. But, by its own radical example, Einstein prepared the way - it gave permission - for Tracklist Track number Play Loved Track name Buy Options Duration Listeners 1.
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