Organization

Tenor (+1)

Aaron Blake

High Priest of Amon

Bajo (+3)

Richard Bernstein

Barítono (+5)

Will Liverman

Horemhab

Soprano

Dísella Lárusdóttir

Queen Tye

Mezzosoprano (+3)

Rihab Chaieb

Nefertiti

Contratenor (+6)

Anthony Roth Costanzo

Akhnaten

Coreografía

Sean Gandini

Video

Escenografía (+3)

Tom Pye

Iluminación

Bruno Poet

Diseño de vestuario

Escenografía (+1)

Kevin Pollard

Escenografía

Dirección de escena

Actor (+1)

Phelim McDermott

Dirección orquestal

Dirección orquestal (+1)

Karen Kamensek

Bajo (+8)

Zachary James

Amenhotep

Lindsay Ohse

Beketaten

Soprano (+1)

Katrina Thurman

Meretaten

Mezzosoprano (+2)

Chrystal E Williams

Maketaten

Annie Rosen

Ankhesenpaten

Olivia Vote

Neferneferuaten

Suzanne Hendrix

Sotopenre

Dirección coral

Donald Palumbo

English National Opera

The Metropolitan Opera

Chorus

Metropolitan Opera Choir

Orchestra

Metropolitan Opera Orchestra

Metropolitan Opera House

Philip Glass’s mesmerizing modern masterpiece—a smash-hit in its 2019 company-premiere run—returns in Phelim McDermott’s unforgettable production, which brings ancient Egypt to vivid life with striking stage tableaux and a troupe of jugglers. Countertenor Anthony Roth Costanzo reprises his celebrated turn as the revolutionary pharaoh Akhnaten, with mezzo-soprano Rihab Chaieb as his wife and queen, Nefertiti. Once again at the helm is conductor Karen Kamensek, a noted master of Glass’s music.Akhnaten is one of Philip Glass’s three large-scale operas based on a “big idea,” in this case monotheism, following Einstein on the Beach, which dealt with new notions of time and space, and Satyagraha, which explored the spiritual and political revelation of non-violence. Satyagraha and Akhnaten, especially, deal largely with the unseen forces affecting the inner (psychological), interpersonal (political), and universal (mystical) aspects of existence, subjects that are uniquely portrayed by the composer’s entrancing musical lines.Akhnaten is one of Philip Glass’s three large-scale operas based on a “big idea,” in this case monotheism, following Einstein on the Beach, which dealt with new notions of time and space, and Satyagraha, which explored the spiritual and political revelation of non-violence. Satyagraha and Akhnaten, especially, deal largely with the unseen forces affecting the inner (psychological), interpersonal (political), and universal (mystical) aspects of existence, subjects that are uniquely portrayed by the composer’s entrancing musical lines.The score of this opera is lyrical, elegiac, and, while clearly a product of its famous composer (whose intricate, repetitive sonic textures unfold differently than most other classical music), is among the most easily appreciated of his creation. The vocal lines also tend toward the melodic, even if they are original and remarkable. The enigmatic title role is sung by a countertenor, and the chorus also has an important role throughout, appearing as priests in the beginning, people of Egypt throughout, and the spirits of the departed at the end.