Annie Rosen

Philip Glass’ opera “Akhnaten”, premiered in Stuttgart in 1984, forms the third part of the portrait opera trilogy about personalities who have influenced the course of human history. The conclusion of the trilogy deals with the ancient Egyptian pharaoh Akhenaten, who attempted to establish a kind of monotheistic cult around the god Aton during his reign in the 14th century BC, but failed due to the resistance of the priesthood. The production presented here was undoubtedly one of the very great successes of the 2019/20 season at New York’s Metropolitan Opera, due not only to the outstanding cast of singers (led by countertenor Anthony Roth Costanzo) but also to Phelim McDermott’s imaginative staging, which captivates with sometimes breathtaking imagery.

This take on the famously dark Brothers Grimm fairy tale tells of a Wicked Stepmother who murders her stepson and serves him up in a stew to his unsuspecting father. The boy’s sister buries her brother’s bones under a nearby Juniper Tree, and the child’s spirit returns as a singing bird who wreaks vengeance on the evil Stepmother before being restored to life in the bosom of his family.