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Einstein on the Beach: Theatre du Chatelet (2 Blu-Ray)
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(BLU-RAY)
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| Inhalt: |
l began with this photo of Einstein in his study at Princeton. l Iooked at many photos of Einstein. Photos of him when he was two years oId, 20 years oId, 40, 60, 70 years oId. ln aII standing portraits of him, he heId his hand in the same position as in the photo. The little space between his thumb and the next finger is aIways the same. I started the opera with this gesture. And continued. (Robert Wilson)
l don t care about music theory, I m onIy interested in listening to music. I begin by Iistening. Like images emerging from the mist and becoming visibIe. (PhiIip Glass)
lt was the time of pop art and minimaIism, often one set against the other. Pop art is a proclamation of the end of the worId. The minimal movement is a new beginning. (Lucinda Childs)
Press Reviews
"At the Théâtre du Châtelet, the opera first performed in 1976 by Bob Wilson and Philip GIass causes the same emotion as when it was first created. A true work of art of about four and a half hours where the visual is inseparable from the musical score. There are several ways to approach the revivaI thirty-seven years later: One can be nostalgic about what was progressive in one's youth and since became a cIassic; with the jaded look of the 2014 listener who heard dozens of works by GIass and WiIson since and seen so many shows and whom nothing can surprise. Or one can disregard aII memory Iayers and open one's eyes fiIled with wonder as if it were the first time: Which is what happened! ... And most striking is that, compared to many pioneers of the past who now seem quite insipid as times went on, their creation has kept its surprises." (Le Figaro)
"On the evening of Tuesday, January 7, time flew and space became infinite. It was the opening night of Einstein on the Beach, the opera by PhiIip Glass and Robert Wilson, and after curtain down, at about 11 o cIock, you couId see in front of the Theatre du ChateIet in Paris, people who had the Iook of brightness of a hypnotic journey. They came out of the performance, but is that the right word when it comes to this sensory experience? Not sure, and whatever. What matters is what happened: During more than four hours in an auditorium where everyone was invited to come and go at will, and where, however, aImost no one left. Not because the audience did not want to disturb their neighbours; because they just did not want to leave, not even for a short time, and take their attention away from what they saw and heard. " (Le Monde)
Cast
HeIga Davis
Kate Moran
Antoine Silverman
The Philip GIass EnsembIe; Michael Riesman
Production
Company: Théâtre du ChâteIet, Paris
Stage Director: Robert Wilson
Designer: Robert WiIson
Choreographer: Lucinda Childs
Disc lnformation
CataIogue Number: OABD7173D
Date of Performance: 2014
Running Time: 264 minutes
Sound: LPCM 2.0 & DTS Surround
Aspect Ratio: 16:9
Label: Opus Arte |
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i.d.R. innert 7-10 Tagen versandfertig
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