The Egyptian Pharaoh Akhnaten was controversial in his lifetime and today, over three millennia after his reign, Egyptologists still argue theories about his life and relative importance. After his death, succeeding Pharaohs did their best to erase every trace of the man who had dared to displace the many gods of Egypt and create the first monotheistic religion in recorded history.
Philip Glass may be an acknowledged master today but, when his opera AKHNATEN premiered in 1984, he was still the “bad boy” of Minimalism who had dared to invade the world's opera houses. AKHNATEN was the final piece in a trilogy of biographical operas by Glass which included EINSTEIN ON THE BEACH and SATYAGRAPHA. Their original productions broadened the scope of what could be considered operatic, and their staging and theatrical innovation revolutionized the way music drama is performed.
The ever ambitious Long Beach Opera staged the first full-scale production of AKHNATEN on the West Coast and put their unmistakable stamp on the piece. If the result wasn't quite as electrifying as their season opener, MEDEA, this has more to do with the difference in the emotional timbre of the operas.
By any definition Akhnaten was an idiosyncratic figure, so Glass and his three co-librettists chose to honor this with a deliberately unconventional opera. The libretto was crafted from existing letters and documents sung in their original languages— the individual scenes set by a Scribe who introduces the action in the language of the audience. Action is probably a misnomer here. The aim was to create a series of fragmentary tableaux from the Pharaoh's life rather than to construct a coherent narrative. The result is a progression of non-dramatic episodes as inflexible and stylized as an Egyptian wall painting. Glass also conceived Akhnaten as a countertenor, a choice far less unique today than when the opera was composed.
Once again, Artistic Director Andreas Mitisik serves as director, conductor and designer for the production. Knowing that the grandeur of Ancient Egypt is beyond the means of the company, Mitisik wisely turns to Frieder Weiss for an interactive video design which becomes the de facto background for the performance. The resulting light show is occasionally distracting, but it also bringst an otherworldly beauty to moments like Akhnaten's “Hymn to the Sun.” Nannette Brodie's choreography, executed by members of her company, adds greatly to the tone of the staging, while Mitisik's simple, stylized movements complement the mesmeric quality of Glass' score.
At the second and final performance, which I attended, the announced Akhnaten, Jochen Kowalski, was indisposed. Darryl Taylor came to the rescue and sang the role, while Mr. Kowalski walked through the blocking. Both acquit themselves beautifully and, in an opera already replete with Brechtian alienating techniques, the switch may even have enhanced the experience. Taylor sings intelligently and with such full-voiced ardor that it becomes difficult to credit he had not rehearsed the role.
Peabody Southwell continues to impress with her commanding stage presence and rich, velvety mezzo, making her a perfect Nefertiti. As Akhnaten's Mother, Oxana Senina displays rock solid technique and effortless high notes. The secondary roles are ably dispatched by Roberto Perlas Gomez and Ralph Cato as Horemhab and Aye, respectively, while Tyler Thompson's Amon unveils the kind of clarion tenor we long to hear in larger roles.
The Chorus seems a bit under-powered and occasionally find themselves adrift in the intricacies of Glass' difficult music. The orchestra, under Mitisek's direction creates a firm foundation on which AKHNATEN can easily stand.
Terrace Theater, Long Beach, March 19 & 27, www.longbeachopera.org.
