As opposed to being transformed by the dominant of Einstein. In this week’s New York Times, Bernard Holland writes an incredibly personal account of coming to terms with Philip Glass’ music through his encounter with Einstein on the Beach which will be heard in a concert version at Carnegie Hall in New York on Thursday. Holland’s piece is particularly wonderful, in that, I believe when music criticism is at its best, it not only fairly assesses music and performance but aptly describes your own feelings about a piece, a composer, a performer….i.e. it describes the indescribable. Bravo Bernard!
My own note: Recently, when approaching Michael Riesman, Music Director of the Philip Glass Ensemble about this concert, he described how it is a new an unique experience performing the music of Einstein without the imagery. Riesman performed the work in ’76. ’84 & 92.
Like for so many others, Thursday’s performance will be my first chance to hear this music live. And like for so many others, I have known the opera intimately for a very long time on CD without the benefit of the Wilson concept; Because I was so excited to hear the music it wasn’t even a consideration for me that I’d be missing out! In light of the Holland piece, I look forward with great eagerness to 2009-1010’s (proposed) performances of Einstein at New York City Opera.