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Einstein on the Beach is an opera in four acts composed by Philip Glass with libretto in collaboration with Robert Wilson, who also designed and directed early productions. [2] [3] The opera eschews traditional narrative in favor of a formalist approach based on structured spaces laid out by Wilson in a series of storyboards which are framed and connected by five "knee plays" or intermezzos. [4]
The poetry of Albert Einstein is merely another aspect of his genius. The following poems are comprised of quotations by Einstein that I combined into poems, changing a word here and there for the sake of meter and rhyme, while hopefully preserving the reason.—Michael R. Burch, editor, The HyperTexts Relativity and the "Physics" of Love
Nov 18, 2020 · The 1976 Philip Glass-Robert Wilson “Einstein on the Beach” changed how we think about opera, theater, time, the composer and even Einstein.
- Mark Swed
- Classical Music Critic
- mark.swed@latimes.com
Jun 8, 2017 · Waiting for the Barbarians. Waiting for the Barbarians is an opera in two acts composed by Philip Glass, with libretto by Christopher Hampton based on the 1980 novel of the same name by South African-born author John M. Coetzee. The opera was commissioned by the Erfurt Theater in Erfurt, Germany. next up.
- Reference
Concert stream from 27.11.2023 no longer available. Philipp Glass's opera »Einstein on the Beach« has enjoyed cult status since the first performance in 1976. Concertgoers now have a rare opportunity to hear the work, which the Los Angeles Times recently described as »the most important opera of the last 50 years«, at the Elbphilharmonie.
The following appreciation by Tim Page, Pulitzer Prize winning culture writer for The Washington Post, accompanied the 1993 CD recording of Glass’s most famous opera. Einstein on the Beach (1976) is a pivotal work in the oeuvre of Philip Glass. It is the first, longest, and most famous of the composer’s operas, yet it is in almost every way ...
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Sep 21, 2012 · That “Einstein,” 36 years after its premiere, remains “one of the season’s crucial events,” as I wrote recently in The New York Times, owes less to what it is, flaws and all, than to ...
