Einstein on the Beach
I think it was 35 years ago when I was introduced to "Einstein on the Beach". Of course that was a vinyl recording. At the time, I knew the work was conceived and presented as an opera, but obsessed by music as I was then (and still am) I did not give the visual and performance side of the work importance it clearly deserved. All this changed at the Barbican when I was mesmerised by the performance, and the staging.
It is billed as a five hour work, and there is no interval, but patrons are encouraged (allowed?) to come and go as they please. I fully expected to take part in this flow, and had intended to leave the auditorium for refreshments and breaks whenever necessary.
However, once the work started I was transfixed, fascinated and mesmerised. Apart from standing up occasionally to look into the orchestra pit I did not leave my seat in 4 1/2 hours. That is a real testament to the power of the piece and the performance, because in no way did I feel that I was undergoing an endurance test, or a marathon. The same cannot be said about the performers on stage. The dancers showed incredible stamina. The whole ensemble were as inspirational and committed as they were joyful.
The audience were by and large very attentive, although there were annoying chats taking place here and there around me. At one stage I had to implore some audience members behind me to keep quiet. Thankfully they complied.
I learnt a great deal about Opera experiencing this work at the Barbican, because I gained a vast extra understanding and enjoyment of the piece as a result of the staging. This made me realise how limited I have been in attempting to understand and enjoy opera through audio recordings and radio broadcasts alone. Of course, it is usually very expensive to go to the opera and often there is a kind of formal stuffiness that I do not enjoy, although this was not the case at the Barbican that night.
Nevertheless, in the future I shall pay much more attention to staging and theatre when investigating and enjoying Opera, even if the change I make is as small as buying DVDs instead of CDs.
I had a wonderful seat at the Barbican (that was expensive!) on Row C right in the middle, and I know that contributed to my enjoyment and the whole experience. It was seeing that seat on the website and thinking it had my name on it that encouraged me to go, weeks ago when I booked the ticket.
The work started at 6 PM, and I was busy in my studio beforehand, so when it came to be time to leave I felt irritated and frustrated that I had committed (by buying the ticket) to the performance that evening. To be honest, I didn't really want to go in that moment.
This was yet another moment in my life where something that I didn't really want to do it turned out to be incredibly important and inspirational. Still learning that, after all these years and some many positive experiences.
I felt I had waited 35 years for this performance. It was worth the wait.
It is billed as a five hour work, and there is no interval, but patrons are encouraged (allowed?) to come and go as they please. I fully expected to take part in this flow, and had intended to leave the auditorium for refreshments and breaks whenever necessary.
However, once the work started I was transfixed, fascinated and mesmerised. Apart from standing up occasionally to look into the orchestra pit I did not leave my seat in 4 1/2 hours. That is a real testament to the power of the piece and the performance, because in no way did I feel that I was undergoing an endurance test, or a marathon. The same cannot be said about the performers on stage. The dancers showed incredible stamina. The whole ensemble were as inspirational and committed as they were joyful.
The audience were by and large very attentive, although there were annoying chats taking place here and there around me. At one stage I had to implore some audience members behind me to keep quiet. Thankfully they complied.
I learnt a great deal about Opera experiencing this work at the Barbican, because I gained a vast extra understanding and enjoyment of the piece as a result of the staging. This made me realise how limited I have been in attempting to understand and enjoy opera through audio recordings and radio broadcasts alone. Of course, it is usually very expensive to go to the opera and often there is a kind of formal stuffiness that I do not enjoy, although this was not the case at the Barbican that night.
Nevertheless, in the future I shall pay much more attention to staging and theatre when investigating and enjoying Opera, even if the change I make is as small as buying DVDs instead of CDs.
I had a wonderful seat at the Barbican (that was expensive!) on Row C right in the middle, and I know that contributed to my enjoyment and the whole experience. It was seeing that seat on the website and thinking it had my name on it that encouraged me to go, weeks ago when I booked the ticket.
The work started at 6 PM, and I was busy in my studio beforehand, so when it came to be time to leave I felt irritated and frustrated that I had committed (by buying the ticket) to the performance that evening. To be honest, I didn't really want to go in that moment.
This was yet another moment in my life where something that I didn't really want to do it turned out to be incredibly important and inspirational. Still learning that, after all these years and some many positive experiences.
I felt I had waited 35 years for this performance. It was worth the wait.
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