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Akhnaten | |
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Opera by Philip Glass | |
Librettist | Philip Glass, Shalom Goldman, Robert Israel, Richard Riddell, and Jerome Robbins |
Premiere |
Akhnaten is an opera in three acts based on the life and religious convictions of the Egyptian pharaoh Akhenaten (Amenhotep IV), [1] written by the American composer Philip Glass in 1983. The libretto is by Philip Glass in association with Shalom Goldman, Robert Israel, Richard Riddell, and Jerome Robbins. According to the composer, this work is the culmination of a trilogy including his two other biographical operas, Einstein on the Beach (about Albert Einstein) and Satyagraha (about Mahatma Gandhi). These three people were all driven by an inner vision which altered the age in which they lived: Akhenaten in religion, Einstein in science, and Gandhi in politics.
The text, taken from original sources, is sung in the original languages, linked together with the commentary of a narrator in a modern language, such as English or German. Egyptian texts of the period are taken from a poem of Akhenaten himself, from the Book of the Dead , and from extracts of decrees and letters from the Amarna Period, the seventeen-year period of Akhenaten's rule. Other portions are in Akkadian and Biblical Hebrew. Akhnaten's Hymn to the Sun is sung in the language of the audience.
Akhnaten was commissioned by Württembergische Staatstheater, Stuttgart and had its world premiere on March 24, 1984, at the Stuttgart State Theatre, under the German title Echnaton. Paul Esswood sang the title role, German director Achim Freyer staged the opera in an abstract style with highly ritualistic movements. The American premiere, directed by David Freeman, was on October 12, 1984, at the Houston Grand Opera, where Glass's opera The Making of the Representative for Planet 8 also premiered. The UK premiere, based on the American production, was on June 17, 1985, by English National Opera at the London Coliseum. [2] This production was revived at the London Coliseum in March 1987.
The award-winning Polish premiere, directed by Henryk Baranowski, was on May 20, 2000, at the Grand Theatre in Łódź. [3] The French premiere was on September 23, 2002, at Opéra national du Rhin in Strasbourg [4] as a co-production with Boston Lyric Opera which had premiered the production in February 2002 [5] A new co-production by English National Opera and LA Opera and in collaboration with Improbable directed by Phelim McDermott starring Anthony Roth Costanzo and Zachary James premiered at the London Coliseum on March 4, 2016, which won a 2017 Olivier Award, and at LA Opera on November 5, 2016. [6] A revival of this production in London took place in March 2019 and played at the Metropolitan Opera in their 2019/2020 season, winning the 2022 Grammy Award for Best Opera Recording. [7] The 2019 Met production was streamed online on June 20 and November 14, 2020, and February 12, 2021, and returned in 2022. [8] [9] [10] [11] A new production directed and choreographed by Nanine Linning premiered at Theater Heidelberg on June 6, 2014, [12] another new production directed by Laura Scozzi premiered at Oper Bonn on March 11, 2018. [13]
A November 2020 production at Opéra de Nice Côte d’Azur was performed without an audience and screened online, due to the COVID-19 pandemic. This production was produced and choreographed by longtime Glass collaborator Lucinda Childs, who conducted rehearsals remotely. She also performed the speaking roles in the opera, which were pre-recorded and projected during the performance. [14] [15]
This section may contain an excessive amount of intricate detail that may interest only a particular audience.(December 2019) |
Role | Voice type | Premiere cast, Stuttgart, 24 March 1984 | ENO, London, June 1985 [2] | CBS recording, 1987 [16] | Oakland Opera Theater, 2004 [17] [18] | ENO, London, March 2016, [6] March 2019 [7] [19] | LA Opera, November 2016 [20] | Theater Bonn, March 2018 [21] | Metropolitan Opera, NY, November 2019 [22] |
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Akhnaten | countertenor | Paul Esswood | Christopher Robson | (as Stuttgart) | Paul Flight | Anthony Roth Costanzo | Anthony Roth Costanzo | Benno Schachtner | Anthony Roth Costanzo |
Nefertiti, Wife of Akhnaten | contralto | Milagro Vargas | Sally Burgess | (as Stuttgart) | Darla Wigginton | Emma Carrington (2016) Katie Stevenson (2019) | J'Nai Bridges | Susanne Blattert | J'Nai Bridges |
Queen Tye, Mother of Akhnaten | soprano | Maria Husmann/ Melinda Liebermann | Marie Angel | Melinda Liebermann | Angela Dean-Baham | Rebecca Bottone | Stacey Tappan | Marie Heeschen | Dísella Lárusdóttir |
Horemhab, General and future Pharaoh | baritone | Wolfgang Probst / Tero Hannula | Christopher Booth-Jones | Tero Hannula | Martin Bell | James Cleverton | Kihun Yoon | Giorgos Kanaris | Will Liverman |
High Priest of Amon | tenor | Helmut Holzapfel | Graeme Matheson-Bruce | (as Stuttgart) | Alan Cochran | Colin Judson | Frederick Ballentine | Johannes Mertes | Aaron Blake |
Aye, Father of Nefertiti and advisor to the Pharaoh | bass | Konrad Arlt/ Cornelius Hauptmann | Richard Angas | Cornelius Hauptmann | John Minagro | Clive Bayley (2016) Keel Watson (2019) | Patrick Blackwell | Martin Tzonev/James Homman | Richard Bernstein |
Daughters of Akhnaten: Beketaten Meretaten Maketaten Ankhesenpaaten Neferneferuaten Sotopenre | 3 sopranos, 3 contraltos | Victoria Schnieder Lynna Wilhelm-Königer Maria Koupilova-Ticha Christina Wächtler Geraldine Rose Angelika Schwarz | Janis Kelly Ethna Robinson Tamsin Dives Rosemary Ashe Eileen Hulse Linda Kitchen | (as Stuttgart) | Clare Eggington Alexa Mason Rosie Lomas Anna Huntley Katie Bray Victoria Gray (2016); Charlotte Shaw Hazel McBain Rosie Lomas Lydia Marchione Elizabeth Lynch Martha Jones Angharad Lyddon (2019) | So Young Park Summer Hassan Elizabeth Zharoff Michelle Siemens Michele Hemmings Sharmay Musacchio | Vardeni Davidian Brigitte Jung Martina Kellermann Mariane Freiburg Joelle Fleury Ramune Sliuauskiene | Lindsay Ohse Karen-chia-ling Ho Chrystal E Williams Annie Rosen Olivia Vote Suzanne Hendrix | |
Amenhotep III, father of Akhnaten | spoken role | David Warrilow | (as Stuttgart) | Michael Mohammed | — | — | Thomas Dehler | Zachary James | |
The Scribe / Tourist Guide | narrator | Hildegard Wensch/ David Warrilow | George Harewood | David Warrilow | Zachary James | Zachary James | Zachary James | ||
Young Tutankhamun | non-speaking role | — | — | — | — | Joshua Simpson/Dylan Rhodes (2016); Ewan Hawkins/Tylan Hernandez (2019) | Christian J. Conner | ||
Two sisters | — | — | — | — | — | Rose Weissgerber/Sheva Tehoval Ava Gesell | — | ||
Small male chorus (priests), large opera chorus (the people of Egypt) | |||||||||
Creative team | |||||||||
Conductor | Dennis Russell Davies | Paul Daniel | (as Stuttgart) | Deirdre McClure | Karen Kamensek | Matthew Aucoin | Stephan Zillias | Karen Kamensek | |
Director | Achim Freyer | David Freeman | — | Ellen Sebastian Chang | Phelim McDermott | Phelim McDermott | Laura Scozzi | Phelim McDermott | |
Set designer | Ilona and Achim Freyer | David Roger | — | Tom Pye | Tom Pye | Natascha Le Guen de Kerneizon | Tom Pye | ||
Lighting designer | Hanns-Joachim Haas | Richard Riddell | — | Bruno Poet; Gary James (2019) | Bruno Poet | Friedel Grass | Bruno Poet |
The orchestra's size is about the size employed for early 19th-century opera: 2 flutes (one doubling piccolo), 2 oboes (both doubling oboe d'amore), 2 clarinets, bass clarinet, 2 bassoons, 2 french horns, 2 trumpets, 2 trombones, tuba, percussion (3 players), celesta (doubling synthesizer), 12 violas, 8 celli, and 6 double basses. [23]
Since the Stuttgart State Opera house was being restored in 1984 and the orchestra pit of the Kleines Haus at the Stuttgart State Theatre, where the premiere was to take place, was considerably smaller, Glass chose to completely leave out the violins (about 20), giving the orchestra a darker, sombre character. [24] Apart from this, this was Glass's most "conventional" opera orchestra until then (compared to Einstein on the Beach , written for the six-piece Philip Glass Ensemble, and Satyagraha , scored for woodwinds and strings only). [25]
The opera is divided into three acts:
Prelude, verse 1, verse 2, verse 3
Set in the key of A minor, the strings introduce a ground bass theme, with following variations. (A passacaglia). The scribe recites funeral texts from the pyramids. "Open are the double doors of the horizon; unlocked are its bolts."
Scene 1: Funeral of Akhnaten's father Amenhotep III
Heralded by hammering drums, Aye and a small male chorus chant a funeral hymn in Egyptian, later joined by the full chorus. The music is basically a march, based on the chords of A major and F♯ minor (with added major sixth), [26] and grows to ecstatic intensity towards the end.
Scene 2: The Coronation of Akhnaten
After a lengthy orchestral introduction, during which Akhnaten appears, heralded by a solo trumpet, the High Priest, Aye, and Horemhab sing a ritual text. After that, the Narrator recites a list of royal titles bestowed upon Akhnaten, while he is crowned. After the coronation, the chorus repeats the ritual text from the beginning of the scene. Again, the main key is A minor.
Scene 3: The Window of Appearances
After an introduction in A minor, dominated by tubular bells, Akhnaten sings a praise to the Creator (in Egyptian) at the window of public appearances. This is the first time he actually sings, after he has already been on stage for 20 minutes (and 40 minutes into the opera) and the effect of his countertenor voice (which in 1983 was even more rare than nowadays) is startling. He is joined by Queen Tye, whose soprano soars high above the soon intertwining voices of the royal couple, and later by Nefertiti, who actually sings lower notes than he.
Scene 1: The Temple
The scene opens again in A minor, with the High Priest and a group of priests singing a hymn to Amun, principal god of the old order, in his temple. The music becomes increasingly dramatic, as Akhnaten, together with Queen Tye and his followers, attack the temple. This scene has only wordless singing. The harmonies grow very chromatic, finally reaching A♭ major and E minor. The temple roof is removed and the sun god Aten's rays invade the temple, thus ending Amun's reign and laying the foundation for the worship of the One God: the Sun God Aten.
Scene 2: Akhnaten and Nefertiti
Two solo celli introduce a "love theme". Accompanied by a solo trombone while the harmony switches to B(sus), the Narrator recites a prayer-like poem to the sun god. The strings softly take over the music in E minor, and the same poem is recited again, this time actually as a love poem from Akhnaten to Nefertiti. Then Akhnaten and Nefertiti sing the same text to each other (in Egyptian), as an intimate love duet. After a while, the trumpet associated with Akhnaten joins them as the highest voice, turning the duet into a trio.
Scene 3: The City – Dance
The Narrator speaks a text taken from the boundary stones of the new capital of the empire, Akhet-Aten (The Horizon of Aten), describing the construction of the city, with large, light-filled spaces. After a brass fanfare, the completion of the city is celebrated in a light-hearted dance, contrasting with the stark, ritualistic music with which this act began. (In the Stuttgart premiere, the dance actually described the construction of the city.) The dance scene was omitted from the UK premiere production and its 1987 revival. [2]
Scene 4: Hymn
What now follows is a hymn to the only god Aten, a long aria (alternating between A minor and A major) by Akhnaten, and the central piece of the opera. Notably, it is the only text sung in the language of the audience, praising the sun giving life to everything. After the aria, an off-stage chorus sings Psalm 104 in Hebrew, dating some 400 years later, which has strong resemblances to Akhnaten's Hymn, thus emphasizing Akhnaten as the first founder of a monotheistic religion.
Akhnaten, 1358 BC
Scene 1: The Family
Two oboes d'amore play the "love theme" from act 2. Akhnaten, Nefertiti and their six daughters, sing wordlessly in contemplation. They are oblivious to what happens outside of the palace. As the music switches from E minor to F minor, the Narrator reads letters from Syrian vassals, asking for help against their enemies. Since the king does not send troops, his land is being seized and plundered by their enemies. The scene focuses again on Akhnaten and his family, still oblivious to the country falling apart.
Scene 2: The Attack and Fall of the City
The music moves again to a vigorous F minor. Horemhab, Aye and the High Priest of Amon instigate the people (as the chorus), singing part of the vassal's letters (in their original Akkadian language) until finally the palace is attacked, the royal family killed, and the city of the sun destroyed.
Scene 3: The Ruins
The music of the very beginning of the opera returns. The scribe recites an inscription on Aye's tomb, praising the death of "the great criminal" and the new reign of the old gods. He then describes the restoration of Amun's temple by Akhnaten's son Tutankhamun. The Prelude music grows stronger and the scene moves to present-day Egypt, to the ruins of Amarna, the former capital Akhetaten. The Narrator appears as a modern tourist guide and speaks a text from a guide book, describing the ruins. "There is nothing left of this glorious city of temples and palaces."
Scene 4: Epilogue
The ghosts of Akhnaten, Nefertiti and Queen Tye appear, singing wordlessly amongst the ruins. The funeral procession from the beginning of the opera appears on the horizon, and they join it. The music introduces a bass line from the beginning of Einstein on the Beach, the first part of Glass's "portrait" trilogy (The second one being Satyagraha and the third one Akhnaten), thus providing a musical bracket for the whole trilogy.
Aten, also Aton, Atonu, or Itn was the focus of Atenism, the religious system formally established in ancient Egypt by the late Eighteenth Dynasty pharaoh Akhenaten. Exact dating for the Eighteenth Dynasty is contested, though a general date range places the dynasty in the years 1550 to 1292 BCE. The worship of Aten and the coinciding rule of Akhenaten are major identifying characteristics of a period within the Eighteenth Dynasty referred to as the Amarna Period.
Amarna is an extensive ancient Egyptian archaeological site containing the remains of what was the capital city during the late Eighteenth Dynasty. The city of Akhetaten was established in 1346 BC, built at the direction of the Pharaoh Akhenaten, and abandoned shortly after his death in 1332 BC. The name that the ancient Egyptians used for the city is transliterated as Akhetaten or Akhetaton, meaning "the horizon of the Aten".
Akhenaten, also spelled Akhenaton or Echnaton, was an ancient Egyptian pharaoh reigning c. 1353–1336 or 1351–1334 BC, the tenth ruler of the Eighteenth Dynasty. Before the fifth year of his reign, he was known as Amenhotep IV.
Nefertiti was a queen of the 18th Dynasty of Ancient Egypt, the great royal wife of Pharaoh Akhenaten. Nefertiti and her husband were known for their radical overhaul of state religious policy, in which they promoted the earliest known form of monotheism, Atenism, centered on the sun disc and its direct connection to the royal household. With her husband, she reigned at what was arguably the wealthiest period of ancient Egyptian history. After her husband's death, some scholars believe that Nefertiti ruled briefly as the female pharaoh known by the throne name, Neferneferuaten and before the ascension of Tutankhamun, although this identification is a matter of ongoing debate. If Nefertiti did rule as pharaoh, her reign was marked by the fall of Amarna and relocation of the capital back to the traditional city of Thebes.
The Great Hymn to the Aten is the longest of a number of hymn-poems written to the sun-disk deity Aten. Composed in the middle of the 14th century BC, it is varyingly attributed to the 18th Dynasty Pharaoh Akhenaten or his courtiers, depending on the version, who radically changed traditional forms of Egyptian religion by replacing them with Atenism. The hymn bears a notable resemblance to the biblical Psalm 104.
Einstein on the Beach is an opera in four acts composed by Philip Glass with libretto in collaboration with Robert Wilson, who also designed and directed early productions. The opera eschews traditional narrative in favor of a formalist approach based on structured spaces laid out by Wilson in a series of storyboards which are framed and connected by five "knee plays" or intermezzos. The music was written "in the spring, summer and fall of 1975.""mostly in Cape Breton, Nova Scotia." Glass recounts the collaborative process: "I put [Wilson’s notebook of sketches] on the piano and composed each section like a portrait of the drawing before me. The score was begun in the spring of 1975 and completed by the following November, and those drawings were before me all the time."
Meritaten, also spelled Merytaten, Meritaton or Meryetaten, was an ancient Egyptian royal woman of the Eighteenth Dynasty of Egypt. Her name means "She who is beloved of Aten"; Aten being the sun-deity whom her father, Pharaoh Akhenaten, worshipped. She held several titles, performing official roles for her father and becoming the Great Royal Wife to Pharaoh Smenkhkare, who may have been a brother or son of Akhenaten. Meritaten also may have served as pharaoh in her own right under the name Ankhkheperure Neferneferuaten.
Satyagraha is a 1979 opera in three acts for orchestra, chorus and soloists, composed by Philip Glass, with a libretto by Glass and Constance DeJong.
Atenism, also known as the Aten religion, the Amarna religion, and the Amarna heresy, was a religion in ancient Egypt. It was founded by Akhenaten, a pharaoh who ruled the New Kingdom under the Eighteenth Dynasty. The religion is described as monotheistic or monolatristic, although some Egyptologists argue that it was actually henotheistic. Atenism was centered on the cult of Aten, a god depicted as the disc of the Sun. Aten was originally an aspect of Ra, Egypt's traditional solar deity, though he was later asserted by Akhenaten as being the superior of all deities.
The Amarna Period was an era of Egyptian history during the later half of the Eighteenth Dynasty when the royal residence of the pharaoh and his queen shifted from the old capital of Thebes (Waset) to Akhetaten in what is now modern Amarna. This move occurred during the reign of Amenhotep IV, who changed his name to Akhenaten in order to reflect the dramatic change of Egypt's polytheistic religion into one where the sun disc Aten was worshipped over all other gods. Toward the end of a Akhenaten's reign, he had a mysterious co-regent, Smenkhkare, about which very little is known; similarly, Neferneferuaten, a female ruler also exercised influence.
Psalm 104 is the 104th psalm of the Book of Psalms, beginning in Hebrew "ברכי נפשי" ; in English in the King James Version: "Bless the LORD, O my soul. O LORD my God, thou art very great". In the slightly different numbering system used in the Greek Septuagint and the Latin Vulgate version of the Bible, this psalm is Psalm 103. In Latin, it is known as "Benedic anima mea Domino".
Panehesy was an Egyptian noble who bore the titles of 'Chief servitor of the Aten in the temple of Aten in Akhetaten'.
Amarna art, or the Amarna style, is a style adopted in the Amarna Period during and just after the reign of Akhenaten in the late Eighteenth Dynasty, during the New Kingdom. Whereas ancient Egyptian art was famously slow to change, the Amarna style was a significant and sudden break from its predecessors both in the style of depictions, especially of people, and the subject matter. The artistic shift appears to be related to the king's religious reforms centering on the monotheistic or monolatric worship of the Aten, the disc of the Sun, as giver of life.
Songs from the Trilogy is a 1989 compilation album of songs from Philip Glass’ operas Einstein on the Beach, Satyagraha, and Akhnaten. Many of the songs on the album have been altered or shortened from their original composition.
Neferneferuaten Tasherit or Neferneferuaten the younger was an ancient Egyptian princess of the 18th Dynasty and the fourth daughter of Pharaoh Akhenaten and his Great Royal Wife Nefertiti.
The tomb of Meryra is part of a group of tombs located near Amarna, Upper Egypt. Placed in the mountainsides, the graves are divided into north and south groupings; the northern tombs are located in the hillsides and the southern on the plains. Meryra's burial, identified as Amarna Tomb 4 is located in the northern cluster. The sepulchre is the largest and most elaborate of the noble tombs of Amarna. It, along with the majority of these tombs, was never completed. The rock cut tombs of Amarna were constructed specifically for the officials of King Akhenaten. Norman de Garis Davies originally published details of the Tomb in 1903 in the Rock Tombs of El Amarna, Part I – The Tomb of Meryra. The tomb dates back to the 18th Dynasty.
Milagro Vargas is an American mezzo-soprano known for her distinctive voice and stage presence. She has appeared as an international soloist in operatic, orchestral, chamber music and recital settings.
Amarna Tomb 3 is a rock-cut cliff tomb located in Amarna, Upper Egypt. The tomb belonged to the Ancient Egyptian noble Ahmes (Ahmose), who served during the reign of Akhenaten. The tomb is situated at the base of a steep cliff and mountain track at the north-eastern end of the Amarna plains. It is located in the northern side of the wadi that splits the cluster of graves known collectively as the Northern tombs. Amarna Tomb 3 is one of six elite tombs belonging to the officials of Akhenaten. It was one of the first Northern tombs, built in Year 9 of the reign of Akhenaten.
The Tomb of Panehsy is a sepulchre in Amarna, Upper Egypt. It was erected for the noble Panehsy who bore the titles the First servant of the Aten in the house of Aten in Akhet-Aten, Second prophet of the Lord of the Two Lands Neferkheprure-Waenre (Akhenaten), the sealbearer of the King of Lower Egypt, Overseer of the storehouse of the Aten in Akhetaten, Overseer of cattle of the Aten in Akhet-Aten.
May was an ancient Egyptian official during the reign of Pharaoh Akhenaten. He was Royal chancellor and fan-bearer at Akhet-Aten, the pharaoh's new capital. He was buried in Tomb EA14 in the southern group of the Amarna rock tombs. Norman de Garis Davies originally published details of the Tomb in 1908 in the Rock Tombs of El Amarna, Part V – Smaller Tombs and Boundary Stelae. The tomb dates to the late 18th Dynasty.