glass notes
Tibet House Review, More on Orphée down South, a new ballet and an old collection

Here is Harley Brown's thoughtful and comprehensive review of the Festivities at Carnegie Hall last night.

Anne Midgette reviews the touring Orphée in Virgina:

This score shows Glass speaking French; Glass showing his intimacy with the history of opera; and Glass writing just plain pretty music, for anyone able to discard their preconceptions about so-called “minimalism” and wallow in, for instance, the love duet between Orphee and the Princess in the second act. It may be a chamber opera, but minimal it ain’t.

And Tim Smith of the Baltimore Sun comments as well in his review:

Philip Glass secured his notable place in the history of 20th century opera with such epic works as "Einstein on the Beach" and "Satyagraha." But the composer's stage works of more modest dimension would have been enough to earn him stature. "Orphee," from 1993, is a particularly striking example of his art.

And reports on New York City Ballet premiering a new ballet set to Glass' Four Movements for Two Pianos.

And Jack Goodstein of the Seattle Post Intelligencer discusses Sony's latest repackaging of old material.  As far as I can recall, with the exception of Naqoyqatsi in 2001, Sony hasn't recorded with Glass since the 1980s.  After recording large works including Einstien on the Beach, Satyagraha, Glassworks and Akhnaten, you could understand the initial 1990s repackaging 3CD set GlassMasters.  I actually quite liked that collection.  However, Sony already released an album called "The Essential Philip Glass."  So here it is again, all excerpts from the old Sony catalog. 

1 thought on “Tibet House Review, More on Orphée down South, a new ballet and an old collection”

  1. The link to Harley’s review is missing. Here is a link to it:
    I happened to be there which took an amazing set of coincidences (I live in Seattle and could never afford to just up and fly to NY for something like this).
    Overall I agree with Harley’s review with just a couple quibbles. Lou Reed didn’t read from a piece of paper – it was an iPad. Not sure that helps! I also didn’t have a problem with Lou’s performance.
    And for me, Das Racist was simply unintelligible. So hard to really get the joke.
    But overall, a magical, marvelous evening.

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