products 1 – – Composer: Philip Glass – Score – HL – Philip Glass: Satyagraha Act 3 – Conclusion (Organ) – HL – Philip Glass is recognised as one of the leading figures in minimalism enchants and hypnotises the viewer just as much as Glass’s score. The opera’s staying power owes much to Mr. Glass’s haunting score. But its perennial relevance is also baked into the libretto, which.

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Satyagraha: Music

However, in the same way as the staging is multi-faceted, so too is the music. With strong support from Charlotte BeamentAnna-Clare MonkStephanie MarshallNicholas Folwell and Clive Bayley in the other roles and exceptionally skilful conducting from Karen Kamensekthis is an excellent revival of an extremely significant and worthwhile work.

Community All comments Contributor list Columnist list. Read our Privacy and Cookie Notices: Repetitive orchestral patterns Vocal Score in Satyagraha. Alexander, European friend – alto Lord Krishna, mythological character from the Bhagavad-Gita – bass Prince Arjuna, mythological character from the Bhagavad-Gita – baritone Non-singing parts: This show as a whole is a masterpiece.

The Truth about Satyagraha at the London Coliseum

The seven scenes are not always shown in the order in which the historical events occurred but we are still given a sense of progression from start to finish.

Connect Connect to your account. The high soprano of Elena Xanthoudakis, who plays Miss Schlesen, his secretary, adds a silvery edge to the slowly shifting vocal ensembles. This is because all three scenes in Act I see Gandhi dressed as he might have been when a law student in England, while scenes four to seven in Acts II and III see him in the traditional garments with which he is now associated.

Do anything – anything none violent, of course – to see it now. As the opening solo is gradually gathered up into duet, trio and- eventually- a stirring chorus, the cumulative power of Glass’s music takes hold: Admiration is redoubled most of all, though, for McDermott and Crouch, who trust the music to work its hypnotic spell, and balance its moments of stasis against the freewheeling, dramatically appropriate imagery.


It is an astonishingly beautiful work, though some may find Glass’s idiom forbidding Have a listen to the score…. It’s a must-see for anyone who missed the first run, and a landmark in recent London opera. Everybody satyagraa is anybody flocked to the Met on April 11 for what Peter Gelb unblushingly labelled ‘a modern masterpiece Our website uses cookies to give you the best possible experience.

The second scene describes the establishing of Tolstoy Farm, a form of co-operative commonwealth, and is symbolised by introducing small two-dimensional houses to the stage.

Satyagraha – Philip Glass

Although there are long periods when he remains silent on stage, the evening is dominated by the character of Gandhi who, after being played by Alan Oke for the original production and first two revivals, sattagraha now portrayed by Toby Spence. Against a semicircular backdrop satyagrahaa rusted corrugated iron, the visual rendering of the scenes is highly effective. It is surely the most distinctive and brillaitn achievement on the London operatice scene in more than a decade Directors Phelim McDermott and Julian Crouch work with big simple gestures, letting their imagery morph organically: Leo Tolstoy who inspired him, Rabindranath Tagore who counselled him, and Martin Luther King Jr, who carried on the torch of scroe mass-resistance after he had died.

This is in spite of the fact that scene two, for example, represents an event that took place in and scene four an occurrence from The first two acts each contain three scenes; the last is one continuous scene. Spence, who has even shaved his satyagrwha for the occasion, ensures that it is not only the ethereal quality in his warm tenor that shines through.


This then provides an excellent backdrop to the falling of registration cards from the ceiling that form the focus for the next scene. The scoee is semi-narrative in form and deals with Mahatma Gandhi’s early years in South Africa and his development of non-violent protest into a political tool.

It is impossible, however, to imagine a better execution Do anything – anything non-violent, of course – to see it now. Glass actually dislikes the term minimalism because it misrepresents the amount going on in his works.

So what more do you want from your opera? Repetition is often a key component of them, and it should be noted eatyagraha they do leave some people feeling cold, but there is much variation too. For example, scene four of Satyagraha writes the smug chuckles of the European men in South Africa laughing at Gandhi into the score.

Similarly, scene four sees people abuse Gandhi by throwing balls of newspaper at him, while the next focuses on Indian Opinion, a paper that he founded to help further the cause.

Satyagraha is a Sanskrit word meaning ‘truth force’.

Philip Glass – Satyagraha () – Music Sales Classical

The production has since been to New York’s Metropolitan Opera, and its return to the ENO reaffirms its dramatic potency, with giant papier-mache puppets, video projections and eloquently choreographed movement. In typical eighteenth and nineteenth-century opera, arias, duets and chorus numbers were clearly differentiated in their contrasting musical styles and formed new sections in the musical score.

Sayyagraha repetitive figurations of Glass’s music, meanwhile, act like mantras, and aim to quieten the jangling of satyagrana own minds as we watch and listen.