The enchantment surrounding Philip Glass’ opera, Akhnaten, lies perhaps in its connection to remarkable historical figures, notably Nefertiti, showcased in Berlin’s Pergamon Museum. The premiere of Barrie Kosky’s new production at the Komische Oper elicited an immediate sell-out, hinting at its anticipated allure. Glass initially debuted this pioneering work in 1984, famously forgoing violins due to space constraints, a decision that would mark a significant milestone in minimalistic music.
Though Akhnaten is a historical figure, details about his life remain sparse. He is chiefly recognised for ushering in monotheism in Ancient Egypt. This significant shift was ephemeral, collapsing posthumously due to poor governance that ultimately led to his downfall. Glass’ opera unfolds in three acts—starting with Akhnaten’s father Amenhotep III’s funeral, advancing to the love duet between Akhnaten and Nefertiti, and culminating in Akhnaten’s tragic demise amid civil unrest.
Opting to eschew any visual ties to Egypt’s past, Kosky set Akhnaten in a minimalist white cube. This ingenious design, combined with kaleidoscopic projections from lighting designer Klaus Grünberg, allowed for dynamic visuals that amplified the opera’s emotional currents. Under the baton of chorus director David Cavelius, the cast delivered an array of hymns, prayers, and rhythmic choral pieces, creating a sensory tapestry that enveloped the audience.
The absence of violins contributed a rich, haunting undertone to the score. Glass’ signature minimalist style was made compelling by conductor Jonathan Stockhammer, who infused the repetitive structure with subtle variations, generating an atmosphere of suspense and anticipation. The libretto’s clever blend of poetic texts in multiple languages with modern guidebook excerpts introduced diversity, while Kosky’s interpretation suggested a narrative devoid of conventional drama, instead favouring evocative imagery and movement.
A noteworthy performance was rendered by countertenor John Holiday as Akhnaten, whose ethereal voice embodied a naive visionary. Alongside him, mezzo-soprano Susan Zarrabi as Nefertiti dazzled audiences with her rich emotional range. The cast, including soprano Sarah Brady as Queen Tye and tenor Stefan Cifolelli as the High Priest, delivered powerful portrayals, adding depth to a production that ultimately defies the notion that minimalism is synonymous with monotony.
Philip Glass’ opera Akhnaten has captivated audiences, particularly with Barrie Kosky’s new staging at the Komische Oper, which sold out immediately. The opera, focusing on the historical figure Akhnaten and his role in ancient monotheism, unfolds in three acts against an abstract backdrop. Kosky’s minimalist vision combined with a masterful score from conductor Jonathan Stockhammer resulted in a strikingly dynamic and poignant performance, highlighting the talents of the cast, including countertenor John Holiday as Akhnaten and mezzo-soprano Susan Zarrabi as Nefertiti.
In conclusion, Kosky’s interpretation of Akhnaten masterfully marries minimalism with emotional depth, showcasing the strengths of both the music and the performers. The stark, white cube stage and the absence of violins create a unique atmosphere, complemented by the rich and diverse libretto. The committed performances of the cast and choral ensemble captivated audiences, breathing contemporary relevance into a historical tale. This production demonstrates that minimalism can be vibrantly engaging rather than dull.
Original Source: bachtrack.com
