Organization

Ténor (+1)

Aaron Blake

Grand prêtre d'Amon

Basse (+3)

Richard Bernstein

General Aye

Baryton (+5)

Will Liverman

General Haremhab

Soprano

Dísella Lárusdóttir

Queen Tye

Mezzo-soprano (+3)

Rihab Chaieb

Nefertiti

Contre-ténor (+6)

Anthony Roth Costanzo

Echnaton

Chorégraphie

Sean Gandini

Video

Décors (+3)

Tom Pye

Lumières

Bruno Poet

Costumes

Décors (+1)

Kevin Pollard

Décors

Mise en scène

Acteur (+1)

Phelim McDermott

Direction d'orchestre

Direction d'orchestre (+1)

Karen Kamensek

Basse (+8)

Zachary James

Amenhotep

Lindsay Ohse

1. Fille

Soprano (+1)

Katrina Thurman

2. Fille

Mezzo-soprano (+2)

Chrystal E Williams

3. Fille

Annie Rosen

4. Fille

Olivia Vote

5. Fille

Suzanne Hendrix

6. Fille

Chef de chœur

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.