Maury mentioned earlier that Philip Glass is probably incredibly frustrated that "seven" has two syllables. Hee.
The mention was made, not surprisingly, at this evening's concert performance of 3 of the 5 hours of Glass' Einstein on the Beach at Carnegie Hall.
So I know nothing about this piece (I am hesitating to casually say "this opera" because I know it's *technically* an opera, but it really feels more like a major choral work to me), other than the most basic of basics: Philip Glass developed it in the 70's with Robert Wilson, and at the original, 5-hour, intermission-less performances, the audience was allowed to walk around and chit chat and such, which basically sounds like my worst nightmare.
Actually, it sounds kind of great. I wish I could have walked around during last year's totally mediocre Meistersinger. Speaking of five (six?) hours. Anyway, this evening's event kept the audience seated and, for the most part, well behaved. I would really loved to have seen the original staging of this--I kept imagining it set against some 70's-tastic Robert Wilson tableau.
In case it isn't already totally apparent, I'm sort of avoiding writing about the music or the performance, because I don't really know how to comment on it. I really, really enjoyed it. I even found it emotional. So I'll let that suffice. And other than one wayward soprano who flatted her way through a lengthy, ethereal solo near the evening's end, I can say confidently that this was a stage of rock solid musicians, each of whom (including the individually mic'd choristers) were very exposed throughout.
So, this was a worthwhile change of scenery. It was cool to watch P. Glass play and conduct, and as one Einstein-going companion noted after the performance, it could be the last time the Philip Glass Ensemble ever performs this together. Which made me retroactively appreciate it that much more.