Organization

Tenor (+1)

Aaron Blake

High Priest of Amon

Baixo (+3)

Richard Bernstein

Barítono (+5)

Will Liverman

Horemhab

Soprano

Dísella Lárusdóttir

Queen Tye

Mezzo-soprano (+3)

Rihab Chaieb

Nefertiti

Contratenor (+6)

Anthony Roth Costanzo

Akhnaten

Coreógrafo

Sean Gandini

Vídeo

Cenógrafo (+3)

Tom Pye

Designer de Iluminação

Bruno Poet

Estilista

Cenógrafo (+1)

Kevin Pollard

Cenógrafo

Diretor de Palco

Ator (+1)

Phelim McDermott

Maestro

Maestro (+1)

Karen Kamensek

Baixo (+8)

Zachary James

Amenhotep

Lindsay Ohse

Beketaten

Soprano (+1)

Katrina Thurman

Meretaten

Mezzo-soprano (+2)

Chrystal E Williams

Maketaten

Annie Rosen

Ankhesenpaten

Olivia Vote

Neferneferuaten

Suzanne Hendrix

Sotopenre

Mestre de Coro

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.