Listen free to Philip Glass – Einstein on the Beach (Knee 1, Train 1 and more). 20 tracks (107:13). Einstein on the Beach (1976) is a pivotal work in the oeuvre of. Baby Einstein Complet Collection 26 DVDs. Saving Private Sheep 2 1.1 iPhone iPad and iPod touch. VA - Sunset Breeze Beach House Vibes Vol 3 (2012) Cave Shooter 2 1.4 iPhone iPad and iPod touch. Hardcore Pawn - S05E17 Philip Blackburn Ghostly Psalms INNOVA246 2012 CRN Plex 2.3 iPhone iPad and. Music by Philip Glass. A new series of stage and dance pictures based on themes relating to the life of Albert Einstein. (from 'Einstein on the Beach').
Einstein on the Beach From top, Jasper Newell, Sharon Milanese and Caitlin Scranton in Philip Glass’s opera at the Brooklyn Academy of Music. Credit Sara Krulwich/The New York Times “Einstein on the Beach” is more known about than known. This rare revival, part of a nine-stop, three-continent tour, with choreography by Lucinda Childs, is the work’s first presentation in New York since the 1992 performances at the Brooklyn academy. Though the piece, with sets and lighting by Mr. Wilson, is a landmark of avant-garde opera, it has a reputation for being incomprehensible and endless (at nearly four and half hours without intermission). Einstein on the Beach This revival, the first in New York since 1992, includes movement designed by Robert Wilson.
Credit Sara Krulwich/The New York Times As a boy, Einstein loved model trains. He later used trains as analogies to explain his theories. The dominant figure in this train scene is a young boy (Jasper Newell), who stands on an elevated bridge over tracks. He examines a luminous geometric shape in his hands and now and then tosses paper airplanes to the smoke-covered stage floor. Is he a scientist-to-be? Or young Einstein himself?
Amiglobe 2006 Serial there. Or just a boy in a mindless moment? With the chorus and instrumental music making this scene so frenetic and momentous, it seemed to encapsulate a larger message of this plotless opera: that scientific calculation, spiritual perceptions and a boy’s daydreaming involve not such different mental states as we may think. In advance of this tour and devotees of the Glass operas wondered whether “Einstein” would by now come across as dated or pretentious.
But the piece seems particularly suited to current musical politics and social culture. In 1976 “Einstein” was seen as a combative declaration from the booming downtown scene directed against the established uptown culture, especially the complex, intellectual styles of contemporary music sanctioned within academia. Actually, at the time, Mr. Glass and Mr. Wilson were more interested in fulfilling than. Even when “Einstein” was here in 1992, the scars from that contemporary music battle were still sore. Now those bad times seem long gone.
Composers do whatever they want to. Audiences are open to everything.
Performers champion all styles. Video Excerpt: 'Einstein on the Beach' in 1976. It was wonderful to see the brilliant violinist Jennifer Koh, whose repertory ranges from Bach to flinty contemporary pieces, throw herself into the bewigged role of the violin-playing Einstein. In a couple of scenes, especially “Knee Play 2,” the music is essentially a daunting violin solo with endless spiraling figures.
Koh’s playing and her acting were gripping. Her participation seemed a testimony to the new openness.
(Antoine Silverman takes over the role starting Wednesday.) Today, maybe more than ever, “Einstein” comes across as an original, visionary and generous work, anything but polemical. There are certainly moments of ominous intensity, especially the apocalyptic final scene of Act IV, “Spaceship,” in which we are taken inside the vehicle that has cruised above the action in earlier scenes. The music evokes the inevitable consequences of Einstein’s work: a nuclear blast. Cast members with their backs to the audience fiddle with blinking lights on a three-tiered control board as the accumulated sound becomes a hard-driving, breathless blur of indistinct, rapid-fire numbers backed up by threatening blasts from the swelling electric keyboards and frenetic woodwinds, all under the sure conducting of Michael Riesman. Video Excerpt: 'Einstein on the Beach' in 2012. Advertisement The two trial scenes are highlights of the piece. Wilson blurs images of a laboratory experiment and a courtroom, with judges in wigs and witnesses watching with brown-bag lunches.
On the floor before the judge is a huge, luminous bed. Many metaphors and questions come together here. A lab experiment is a kind of trial. Did Einstein dream up his theories at night? Did fears of the implications of his work give him nightmares?
In the second trial, Ms. Moran, playing a witness, lounges on the bed reciting over and over some incantatory words written by Ms. Childs, a riff about finding herself in a “prematurely air-conditioned supermarket” and seeing colored bathing caps. And, she explains, daftly, “I wasn’t tempted to buy one, but I was reminded of the fact that I had been avoiding the beach.” Sometimes, such wandering thoughts are subjected to intense scrutiny in a trial. Eventually, her character turns into a weapon-wielding Patty Hearst, whose real-life trial was going when “Einstein” was created. It is hard to know how to categorize this production.