tag:blogger.com,1999:blog-1658202452707400073.post1170248812943144982..comments2023-12-27T05:20:26.800-05:00Comments on BAM blog: Einstein on the Blog: Your EinsteinUnknownnoreply@blogger.comBlogger3125tag:blogger.com,1999:blog-1658202452707400073.post-2655856910757957372012-10-29T02:09:56.548-04:002012-10-29T02:09:56.548-04:00The minimalistic concept (repetition with gradual ...The minimalistic concept (repetition with gradual change) works well with music, where it creates a hypnotic effect. With the text, it is simply irritating, and should be completely abolished as a technique. Forever. <br /><br />(well, I can wish, can't I?)<br /><br />Incredible show. Tres 1970's.<br /><br /><br />Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-1658202452707400073.post-57204661528340720132012-09-27T23:00:20.186-04:002012-09-27T23:00:20.186-04:00The image you attribute to Albrecht Dürer is actua...The image you attribute to Albrecht Dürer is actually from Gustave Doré.Aueloxshttps://www.blogger.com/profile/14757027461242272106noreply@blogger.comtag:blogger.com,1999:blog-1658202452707400073.post-6241355531634457532012-09-27T20:37:13.192-04:002012-09-27T20:37:13.192-04:00Einstein (subdued) on the Beach
The current reviv...Einstein (subdued) on the Beach<br /> The current revival of Einstein on the Beach, the avant-garde landmark opus from 1976, is a beautifully recreated Fabrege Egg but an aural experience that lacked clarity, volume and punch. The dazzling score by Philip Glass was severely handicapped by an inadequate sound design, poorly miked and mixed vocals, a muddled bottom and a non-existent top. The absence of Kurt Munkacsi mixing the sound live was a major disappointment. However, since he is credited with the sound design, maybe it was better he did not show up. <br /> On the plus side, Robert Wilson's beautifully recreated sets were lit with grace and subtlety, and the mechanics moved without a single hitch. Visually, it was simply magical. The performers were usually excellent but occasionally tentative, as if fearful of making a mistake while stepping through this masterpiece. The two lead actresses were so badly miked as to make their words unintelligible, even when there was no music. And that was a shame. Losing all those delicate, enigmatic non-sequiturs to a bad sound design was simply incompetent. The all-important chorus, adequate but undermiked, was alternately powerful and subdued. Their acapella Knee Play 3 was quieter than a whisper. And it should not have been. Whoever was at the mixing board should be retired. This should have been loud and clear, not quiet and hidden. <br /> Having seen the original Einstein in 1976, the first revival at BAM, and at least 50 concerts of Philip Glass Ensemble in various forms since the 1970s, I know what the Philip Glass Ensemble should sound like. Yes I am a big big FAN. On Friday night, I was in the third row center of the orchestra and the sound was subdued to the point of sabotage. ACT I-Train was lackluster; its running bass line ressembling a train motor was lost in a packed condensed sound. There was no train blast and no punch to this Train. It was too respectful and too quiet. In ACT II Night Train, the vocal duet was a disaster. Neither singer could be heard clearly and Philip Anderson did not seem to be able to get the words out. This lovely scene was a bust. ACT IV Spaceship was also less than thrilling. For a finale, it suffered from a fear of highs, despite its spectacular visuals. However, this particular sound mix made ACT II Dance with Field much more compelling than in any of the produced recordings. As the least interesting music in the opera, this section is when I usually exit for my intermission. But Friday, I sat through it and enjoyed its persuasive quietness, even if the dancers seemed nervous while executing Lucinda Childs' lovely twirls. (Although, I still prefer her original swarms of running across the stage at Lincoln Center and those incredible mathematical dances without music she originally did at Next Wave so many years ago. But I digress!)<br /> The very best moments in the opera were easily pinpointed: Andrew Sternman blistering saxophone solo, following the incredible Richard Landry's original solo, during ACT IV Building was right on the money and finally the volume was in tune with the production. Following this in ACT IV Bed, the delicate lovely singing of Hai-Ting Chinn following the rise of the bed was terrific. Finally, a voice that you could actually hear clearly.<br /> Modern audiences should hear a great work the way it was originally produced and played. Einstein should be loud, it should be played with fire and energy, the voices should be clear and separate and distinct, and the music should have clearly distinct highs and clearly distinct lows. The voices should be clear and the singers should sing. The power of the music was extremely diminished during this run of the show, no pun intended. Hopefully, Mr. Glass will set some parameters for the sound design on the tour. This sound was simply not good. <br />Gaston Musellanoreply@blogger.com