VIEWPOINTS – Proof that classical music can be among the coolest things in town: Philip Glass’s AKHNATEN & the Currentzis-led Verdi REQUIEM

Last week, I attended two highly anticipated classical music events that were among the hottest tickets in town, proving that art form can be — contrary to the general thought — sexy and cool.

Teodor Currentzis leads Verdi's "Requiem" at the Shed.

Teodor Currentzis leads Verdi’s “Requiem” at the Shed.

First up, I caught the long-awaited North American debut of Russian conductor Teodor Currentzis and musicAeterna, the orchestra and chorus he has helmed and nurtured for a good number of years now. Mr. Currentzis arrives on our shores thickly veiled with mystique, particularly as it relates to the unlikely ascension of his superstardom, the intensity of his rehearsal process, and the uncompromising theatricality of his performances. For his maiden set of performances here, the maestro chose to perform Verdi’s Requiem (HIGHLY RECOMMEND) at the Shed — the new arts complex at Hudson Yards — and backed by an austere film by the late Jonas Mekas. The Verdi Requiem has long been one of my favorite pieces in all of classical music. Despite being a requiem mass, Verdi transcends the framework by injecting his work with an operatic grandeur that viscerally captures the mystery, terror, and beauty of human existence and beyond. I’m happy to report that Mr. Currentzis did not disappoint. Although he’s known for creating highly theatrical concerts (e.g., the variations in the lighting, the costuming of the chorus and players, the dual video projections), his work as a music-maker was refined and unified, giving the piece balance and a steady force whose cumulative impact came pretty close to shattering. The quartet of principal vocalists were refreshingly even-keeled, never distracting us with the melodramatic pyrotechnics that often creeps into operatic singing. The same can be said of the sensational work of musicAeterna’s 80-member chorus, who were hushed or thundering, as necessary. Thankfully, Mr. Currentzis was also able to overcome the slightly less than ideal acoustics of the the Shed’s cavernous McCourt space (the performance was tastefully amplified), allowing the maestro’s deeply thoughtful rendition of this Verdi masterwork to shine through.

A scene from Philip Glass's "Akhnaten" at the Metropolitan Opera.

A scene from Philip Glass’s “Akhnaten” at the Metropolitan Opera.

Then uptown, I caught the Metropolitan Opera debut of Akhnaten (HIGHLY RECOMMEND), perhaps Philip Glass’s finest opera. Written in 1983, the opera – which chronicles the reign of the titular Egyptian pharaoh – has taken nearly four decades to play the Met, and I would argue that it was worth the wait (judging from the sold out run, I’m not the only one who feels this way). Akhnaten has been staged at the mighty opera company by the same team responsible for the Met’s intoxicatingly inventive production of Satyagraha, another Philip Glass opera about the life and legacy of Mahatma Gandhi (the third of Mr. Glass’s “portrait” operas is of course his legendary but much more abstract Einstein on the Beach). I had seen this production of Akhnaten when it was premiered at the English National Opera in London a few years ago and swooned over it. At the Met, it remains a ravishing and compelling production, which emphasizes ritual and mood over historical details. The approach works beautifully for the piece, which is comprised of a slow, hypnotic progression of stunning tableaus. The current Met cast is exceptional, especially Anthony Roth Costanzo, who manages to imbue the title role with vocal and dramatic distinction despite the deliberately robotic blocking of the cast amidst the continuously unfolding spectacle of director Phelim McDermott’s staging (which includes a good bit of cirque work). Conductor Karen Kamensek leads a sensitive account of Mr. Glass’s gorgeous minimalist score, which at times gets lost in the vast expanse of the Met’s mammoth auditorium. The Met Chorus, however, shines brilliantly, as per usual.

 

VERDI’S REQUIEM
Classical Music
musicAeterna / The Shed
1 hour, 30 minutes
Closed

AKHNATEN
Opera
The Metropolitan Opera
3 hours, 30 minutes (with two intermissions)
In repertory through December 7

 

Categories: Music, Opera, Other Music

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