products 1 – – Composer: Philip Glass – Score – HL – Philip Glass: Satyagraha Act 3 – Conclusion (Organ) – HL – Philip Glass is recognised as one of the leading figures in minimalism enchants and hypnotises the viewer just as much as Glass’s score. The opera’s staying power owes much to Mr. Glass’s haunting score. But its perennial relevance is also baked into the libretto, which.

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Repetition is often satyagrwha key component of them, and it should be noted that they do leave some people feeling cold, but there is much variation too. Connect Connect to your account.

Einstein on the Beach premiered in before the triptych was completed eight years later with Akhnaten. The first two acts each contain three scenes; the last is one continuous scene.

As the opening solo is gradually gathered up into duet, trio and- eventually- a stirring chorus, the cumulative power of Glass’s music takes hold: Dortmund Theatre, Germany Dortmunder Philharmoniker.

Although there are long periods when he remains silent on stage, the evening is dominated by the character of Gandhi who, after being played by Alan Oke for the original production and first two revivals, is now portrayed by Toby Spence. Our website uses cookies to give you the best possible experience.

His face similarly reveals both the anxiety of an individual who knows they bear a huge responsibility and the serenity of one who believes in the total truth of what they do.

Satyagraha – Philip Glass

With strong support from Charlotte BeamentAnna-Clare MonkStephanie MarshallNicholas Folwell and Clive Bayley in the other roles and exceptionally skilful conducting from Karen Kamensekthis is an excellent revival of an extremely significant and sattyagraha work. Homophonic ensemble writing Vocal Score in Satyagraha. Linear solo lines Vocal Score in Satyagraha. Satyagraha is not a conventional opera. The opera is semi-narrative in form and deals with Mahatma Gandhi’s early years in South Africa and his development of non-violent protest into a political tool.


It is this large metaphorical element to the work that means that, while the opera is accessible, it is not necessarily self-explanatory. It is performed in Sanskrit, with translations of only some of the lines being projected, and this makes investing in a programme, which contains a detailed synopsis and sxtyagraha translation, advisable. Philip Glass Satyagraha Opera in three acts.

Opera Profile: Philip Glass’ ‘Satyagraha’

Philip Glass is recognised as one of the leading figures in minimalism today. Do anything – anything non-violent, of course – to see it now.

Spence, who has even shaved his head for the occasion, ensures that it is not only the ethereal quality in his warm tenor that shines through. In typical eighteenth and nineteenth-century opera, arias, duets and chorus numbers were clearly differentiated in their contrasting musical styles and formed new sections in the musical score.

At the end of the fifth scene the scorre whip up the scattered newspaper into a huge whirling mass.

Satyagraha: Music

Do anything – anything none violent, of course – to see it now. Directors Phelim McDermott and Julian Crouch work with big simple gestures, letting their imagery morph organically: These are then cut and bundled up to form a huge person where the skill in the original design is matched by the slickness in execution that ensures the same effect is achieved night after night.

Act 2 Scene 2: The repetitive figurations of Glass’s music, meanwhile, act like mantras, and aim to quieten the jangling of our own minds as we watch and listen. It is surely the most distinctive and brillaitn achievement on the London operatice scene in more than a decade Read our Privacy and Cookie Notices: Leo Tolstoy who inspired him, Rabindranath Tagore who counselled him, and Martin Luther King Jr, who carried on the torch of peaceful mass-resistance after he had died.

The ruling classes in South Africa are also depicted with huge newspaper-faced puppets that are so engaging that one soon blocks out the person standing beneath the framework of each operating the limbs. Each act is dominated by a single historic figure non-singing role overlooking the action from above: In between these came Satyagraha inwhich explores the early active life of Mahatma Gandhi.


The seven scenes are not always shown in the order in which the historical events occurred but we are still given a sense of progression from start to finish. With its slowly shifting timbres, Glass’s music has always had an integrity that’s missing in, say, the more ‘maximalist’ style of John Tlass, another composer interested in modern historical figures, and that purity finds a natural outlet in Satyagraha.

Philip Glass is a contemporary American composer born in If anything, its broad philosophical message is even more profound now than before, glaxs the wake of today’s unrighted injustices and often wilfully unlearned lessons of the financial crisis.

Similarly, scene four sees people abuse Gandhi by throwing balls of newspaper at him, while the next focuses on Indian Opinion, a paper that he founded to help further the cause. In keeping with eastern philosophical thought, past, present and future satyafraha elided and the narrative glides backwards and forwards through time Naidoo, Indian co-worker – soprano Mrs.

The second scene describes the establishing of Tolstoy Farm, a form of co-operative satyagraba, and is symbolised by introducing small two-dimensional houses to the stage. Glass actually dislikes the term minimalism because it misrepresents the amount going on in his works. In contrast, the music of Satyagraha is written in continuous through-flowing scenes where solo, ensemble and chorus singing form part of one musical atmosphere, weaving in and out of the whole, and emotions are conveyed through changes in musical texture.

The production has since been to New York’s Metropolitan Opera, and its return to the ENO reaffirms its dramatic potency, with giant papier-mache puppets, video projections and eloquently choreographed movement. As the still focus of Glass’s meditation on non-violent protest, he sings with an otherworldly beauty. It’s a must-see for anyone who missed the first run, and a landmark in recent London opera. Act 1 Scene 1:

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