Un’opera in 4 atti di Robert Wilson e Philip Glass e le coreografie Lucinda Childs.
Generalmente riconosciuta come una dei più grandi capolavori del XX secolo, quest’opera così poco rappresentata ha sancito il successo internazionale del regista Robert Wilson e del compositore Philip Glass, quando venne per la prima volta messa in scena in Francia al Festival di Avignone il 25 luglio del 1976 e in seguito portata in Europa e al Metropolitan di New York. È tuttora annoverata tra le loro produzioni più significative. Oggi, a quasi quarant’anni dal debutto e a vent’anni circa dalla sua ultima messa in scena, “Einstein on the beach” viene ripresa per consentire a un pubblico nuovo e a nuove generazioni di assistere a uno spettacolo che ha rappresentato una profonda frattura con la tradizione precedente.
Einstein on the beach rompe con tutte le regole dell’opera convenzionale. Invece di un tradizionale arrangiamento per orchestra, Glass ha scelto di comporre la partitura per sintetizzatori, legni e voci del Philip Glass Ensemble. In una forma non narrativa, viene utilizzata una serie di potenti immagini ricorrenti che svolge la funzione di principale canovaccio, in giustapposizione con alcune sequenze di una danza astratta ideata dalla coreografa americana Lucinda Childs.
L’opera è articolata in quattro atti tra loro collegati e separati da una seriedi brevi intermezzi, dura circa cinque ore e non ci sono intervalli tradizionali: il pubblico è però invitato a muoversi liberamente durante lo spettacolo.
Quando venne presentata per la prima volta, Einstein on the beach rappresentò una vera e propria rivoluzione e oggi è considerata una delle produzioni artistiche più importanti dei nostri tempi. Il produttore e critico d’arte del New York Times John Rockwell, dopo aver visto per la prima volta lo spettacolo, si è espresso in questi termini: “Einstein non è paragonabile a nulla che io abbia mai incontrato. Credo che l’inafferrabilità che emana in abbondanza sia simile a quella che emanano certe stelle brune i cui effetti si possono solo percepire con i sensi. La sinergia tra parole e musica sembra perfetta”. E ancora: “Einstein on the beach, forse proprio come Einstein stesso, trascende il tempo. Non è (solo) un prodotto artistico della sua epoca, è un’opera senza tempo… Einstein deve essere visto e rivisto, incontrato e assaporato… un’esperienza che porti con te per tutta la vita.”
Einstein on the Beach rappresenta un lavoro irripetibile, frutto del sodalizio di alcuni tra i più radicali innovatori del linguaggio artistico degli anni Sessanta e Settanta. Inventa il contesto, la forma, il linguaggio, sovrappone e simultaneizza danza, musica, narrazione, immagini, in un gioco (nel senso più alto del termine) tra avanguardia e tradizione, profondamente attento alla contemporaneità.
L’idea di lavorare con Bob Wilson venne a Philip Glass, dopo aver assistito, nel 1973, a The Life and Times of Josef Stalin, che suscita in lui una profonda ammirazione per il senso e l’uso che Bob fa del tempo, dello spazio, del movimento teatrale. Il primo titolo, ispirato ad una vecchia foto di Einstein sulla spiaggia, era Einstein on the Beach on Wall Street.
For the First Time in Two Decades, Full Production of the Rarely Performed Work Will Tour Internationally in 2012-2013.
The Robert Wilson/Philip Glass collaboration Einstein on the Beach, An Opera in Four Acts is widely recognized as one of the greatest creative achievements of the 20th century. An international breakthrough for two of America’s most celebrated artists, the production, in turn, radically and indelibly broadened what audiences might expect from opera, theater or performance art. John Rockwell, who reviewed the 1976 world premiere for The New York Times, has called Einstein on the Beach “timeless” and “an experience to cherish for a lifetime.” The production’s only two revivals to date, in 1984 and 1992, proved equally enthralling to audiences and critics. Although every performance of the work has attracted a sold-out audience, and the music has been recorded and released, few people have actually experienced Einstein live. New audiences and an entirely new generation will have the opportunity during a 2012-2013 international tour in which New York-based producer Pomegranate Arts will bring the work to major cities around the world.
Opéra et Orchestre National de Montpellier Languedoc-Roussillon is scheduled to present the world premiere of Einstein on the Beach at the Opera Berlioz Le Corum on March 17 and 18, 2012. From May 4—13, 2012, the Barbican will present the first-ever UK performances of the work in conjunction with the Cultural Olympiad and London 2012 Festival. The North American premiere at the June 2012 Luminato, Toronto Festival of Arts and Creativity represents the first North American presentation ever held outside of New York City. The Brooklyn Academy of Music (BAM) 2012 Next Wave Festival will once again be home to the New York premiere, having presented the 1984 and 1992 iterations. Having never before been presented on the West Coast, the production will run for a week in the fall of 2012 at Cal Performances on the University of California, Berkeley campus.
The tour is currently slated to conclude at Amsterdam’s De Nederlandse Opera/The Amsterdam Music Theatre in January 2013. Before the tour, in January 2012, the entire Einstein on the Beach company will be in residence at the University of Michigan, Ann Arbor, whose University Musical Society will host technical rehearsals and early previews.
Einstein on the Beach breaks all of the rules of conventional opera, including the relationship among the work’s creators. Wilson devised the visual book—the structure and designs—at the same time Glass composed the music. Non-narrative in form, the work uses a series of powerful recurrent images as its main storytelling device shown in juxtaposition with abstract dance sequences created by Lucinda Childs. A long-term collaborator of Glass and Wilson, she choreographed the opera in 1984 and 1992 and was a principal performer in the original and both subsequent productions of the work.
Einstein on the Beach is structured in four interconnected acts and divided by a series of short scenes. Instead of a traditional orchestral arrangement, Glass chose to compose the work for the synthesizers, woodwinds and voices of The Philip Glass Ensemble. There are no traditional intervals in Einstein on the Beach, however the audience is invited to enter and exit at liberty during the performance.
The Byrd Hoffman Foundation originally presented the work in 1976, first at the Festival d’Avignon in France, and ultimately, in the fall of that year, at the Metropolitan Opera in New York.
Einstein on the Beach was the first collaboration between Glass and Wilson. For the new production, they are working with a number of their longtime collaborators, including Lucinda Childs, who will serve as choreographer, as she did in 1984 and 1992. All of these artists are now in their 70s; the production will be a cornerstone of Glass’s 75th birthday year. They are committed to passing on the work to a new generation, and so are recruiting younger artists for the creative team and cast.
Il New York Times ha descritto Robert Wilson come “una figura eminente nel mondo del teatro sperimentale”. Le opere di Wilson integrano una vasta gamma di linguaggi artistici, unisce, movimento, danza, illuminazione, design, scultura, musica e testo in un insieme unitario.Le sue immagini sono esteticamente suggestive e cariche emotivamente, e le sue produzioni si sono guadagnate il plauso del pubblico e della critica in tutto il mondo.Nato a Waco, Texas, Wilson ha studiato presso l’Università del Texas ed è arrivato a New York nel 1963 per frequentare il Pratt Institute di Brooklyn.Poco dopo, Wilson si mise al lavoro con la Byrd Hoffman di Byrds e, insieme con la sua compagnia, ha firmato i suoi primi lavori tra cui il re di Spagna (1969), Deafman Glance (1970), La vita ei tempi di Joseph Stalin (1973) , e A Letter for queen Victoria (1974).Considerato uno dei leader dell’allora fiorente scena artistica di Manhattan, Wilson si dedica a opere in grande scala e, con Philip Glass, crea Einstein on the Beach (1976). È riconosciuto come una delle figure più importanti della nostra epoca nel teatro, nell’opera e nell’arte. Nella sua carriera più che trentennale con il suo modo di interpretare le arti visive e attraverso l’uso radicale della luce, Wilson non solo ha influenzato il teatro ma ha rivoluzionato con il suo linguaggio design, architettura e media. Alcuni dei suoi lavori: 1433-the grand voyage, anna’s room, 70 angels on the façade, Egypt-Sunken Treasures, Four Saints in Three Acts,
G.A.Story, G.Armani/Guggenheim Museum, Hamlet-A Monologue, Happy Days, I La Caligo, In the Evening at Koipond Expo2005, Krapp’s Last Tape, Kool – Dancing in my Mind, Lady From the Sea,
Memorie della terra desolata, Memory Loss, Perchanche to Dream, Persephone, Prometheus, Relative Light, Rumi – in the Blink of the Eye, Shakespeares Sonette, T.S.E, The Days Before, The Temptation of St. Anthony, The Threepenny Opera, VOOM Portraits, Wings on Rock.
Wilson’s awards and honors include two Guggenheim Fellowship awards (’71 and ’80), the Rockefeller Foundation Fellowship award (‘75), the nomination for the Pulitzer Prize in Drama (’86), the Golden Lion for sculpture from the Venice Biennale (’93), the Dorothy and Lillian Gish Prize for lifetime achievement (’96), the Premio Europa award from Taormina Arte (’97), election to the American Academy of Arts and Letters (’00), the National Design Award for lifetime achievement (’01), and Commandeur des arts et des letters (’02), the Medal for Arts and Sciences of the city of Hamburg (2009) and the Hein Heckroth-Prize for Set Design (2009).
After Einstein Wilson worked increasingly with European theaters and opera houses. In collaboration with internationally renowned writers and performers, Wilson created landmark original works that were featured regularly at the Festival d’Automne in Paris, the Schaubühne in Berlin, the Thalia Theater in Hamburg, and the Salzburg Festival. At the Schaubühne he created Death Destruction & Detroit (‘79) and Death Destruction & Detroit II (‘87); and at the Thalia he presented the groundbreaking musical works The Black Rider (’91) and Alice (’92). He has also applied his striking formal language to the operatic repertoire including Parsifal in Hamburg (’91) and Houston (’92), The Magic Flute (’91), Madame Butterfly (’93), Lohengrin at the Metropolitan Opera in New York (’98). Wilson recently completed an entirely new production, based on an epic poem from Indonesia, entitled I La Galigo, which toured extensively and appeared at the Lincoln Center Festival in the summer of 2005.
Wilson continues to direct revivals of his most celebrated productions, including The Black Rider in London, San Francisco, and Sydney, Australia, The Temptation of St. Anthony in New York and Barcelona, Erwartung in Berlin, Madama Butterfly at the Bolshoi Opera in Moscow, the LA Opera, Het Muziektheater in Amsterdan, and Wagner’s The Ring at Le Chatelet in Paris. For the Berliner Ensemble he created two highly acclaimed recent productions: Brecht’s Dreigroschenoper and Shakespeare’s Sonnets with music by Rufus Wainwright. Both productions received invitations to the Spoleto Festival and travel internationally. Wilson directs all Monteverdi Operas for the opera houses of La Scala in Milan and the Palais Garnier in Paris.
Wilson’s practice is firmly rooted in the fine arts and his drawings, furniture designs, and installations have been shown in museums and galleries internationally. Extensive retrospectives have been presented at the Centre Georges Pompidou in Paris and the Boston Museum of Fine Arts. He has mounted installations at the Stedelijk Museum in Amsterdam, London’s Clink Street Vaults and the Guggenheim Museums in New York and Bilbao. His extraordinary tribute to Isamu Noguchi has been exhibited most recently at the Seattle Art Museum and his installation of the Guggenheim’s Giorgio Armani retrospective traveled to London, Rome and Tokyo. In 2007, Paula Cooper Gallery and Phillips de Pury & Co in New York held exhibitions of his most recent artistic venture, the VOOM Portraits, with subjects including Gao Xingjian, Winona Ryder, Mikhail Baryshnikov and Brad Pitt. The works have been shown at the Tribeca Film Festival (2006), the Montreal Film Festival (2008) and in galleries and museums in Los Angeles, Naples, Moscow, Singapore, Graz, Milan, Hamburg and will continue to tour internationally over the next years.. His drawings, prints, videos and sculpture are held in private collections and museums throughout the world. He is represented by the Paula Cooper Gallery in New York City.
Each summer Wilson hosts students and professional artists from around the world at the International Summer Arts Program at the Watermill Center in eastern Long Island – an interdisciplinary laboratory for the arts and humanities.
In July of 2006, the Watermill Center dedicated a brand new building on its grounds, including rehearsal spaces, dormitories and residences, and inaugurated a year-round programming schedule.
Attraverso le sue opere, le sue sinfonie, le sue composizioni per il suo ensemble, e il suo ampio raggio collaborazioni con artisti che vanno da Twyla Tharp a Allen Ginsberg, da Woody Allen a David Bowie, Philip Glass ha avuto un impatto straordinario e inedito sulla vita musicale e intellettuale del suo tempo. Le opere – “Einstein on the Beach”, “Satyagraha”, “Akhnaten,” e “The Voyage”, insieme a molte altre – sono state eseguite in tutto il mondo. Glass ha scritto musica per il teatro sperimentale e per l’Academy Award-winning film come “The Hours” e “Kundun” di Martin Scorsese. Le sue collaborazioni, personali e professionali, con i principali artisti di musica rock, pop e del mondo risalgono al 1960, compreso l’inizio del suo rapporto di collaborazione con l’artista Robert Wilson. Glass è il primo compositore a raggiungere un ampio, multi-generazionale pubblico: in teatro, sale da concerto, il mondo della danza, nel cinema e nella musica popolare – simultaneamente. Nato nel 1937 è cresciuto a Baltimora. Ha studiato all’Università di Chicago, alla Juilliard School e ad Aspen con Darius Milhaud. Insoddisfatto di molto di quello che allora passava per musica moderna, si è trasferito in Europa, dove ha studiato con il leggendario Nadia Boulanger (che ha insegnato anche a Aaron Copland, Virgil Thomson e Quincy Jones) e ha lavorato a stretto contatto con il virtuoso Ravi Shankar. Torna a New York nel 1967 e forma il Philip Glass Ensemble.
Philip Glass is a prolific and widely-respected American composer of innovative, vocal and operatic music. He work consistently uses repetitive structures and is often minimalistic. Glass studied math and philosophy before pursuing music at the Julliard School. Born in Baltimore on January 31st, 1937, Philip Glass discovered music in his father’s radio repair shop. In addition to servicing radios, Ben Glass carried a line of records and, when certain ones sold poorly, he would take them home and play them for his three children, trying to discover why they didn’t appeal to customers. These happened to be recordings of the great chamber works, and the future composer rapidly became familiar with Beethoven quartets, Schubert sonatas, Shostakovich symphonies and other music then considered “offbeat.” It was not until he was in his upper teens did Glass begin to encounter more “standard” classics. Glass began the violin at six and became serious about music when he took up the flute at eight. But by the time he was 15, he had become frustrated with the limited flute repertory as well as with musical life in post-war Baltimore. During his second year in high school, he applied for admission to the University of Chicago, passed and, with his parents’ encouragement, moved to Chicago where he supported himself with part-time jobs waiting tables and loading airplanes at airports. He majored in mathematics and philosophy, and in off-hours practiced piano and concentrated on such composers as Ives and Webern.
At 19, Glass graduated from the University of Chicago and, determined to become a composer, moved to New York and the Juilliard School. By then he had abandoned the 12-tone techniques he had been using in Chicago and preferred American composers like Aaron Copland and William Schuman. By the time he was 23, Glass had studied with Vincent Persichetti, Darius Milhaud and William Bergsma. He had rejected serialism and preferred such maverick composers as Harry Partch, Ives, Moondog, Henry Cowell, and Virgil Thomson, but he still had not found his own voice. Still searching, he moved to Paris and had two years of intensive study under Nadia Boulanger.
In Paris, he was hired by a filmmaker to transcribe the Indian music of Ravi Shankar into notation readable by French musicians and, in the process, discovered the techniques of Indian music. Glass promptly renounced his previous music and, after researching music in North Africa, India and the Himalayas, returned to New York and began applying eastern techniques to his own work.
By 1974, he had composed a large collection of new music, much of it for use by the theater company Mabou Mines (Glass was one of the co-founders of that company), and most of it composed for his own performing group, the Philip Glass Ensemble. This period culminated in Music in 12 Parts, a 4-hour summation of Glass’ new music, and reached their apogee in 1976 with Philip Glass / Robert Wilson opera Einstein on the Beach, the 4 1/2-hour epic now seen as a landmark in 20th century music-theater.
Glass’s output since Einstein has ranged from opera (Satyagraha, Akhnaten, The Making of the Representative for Planet 8, The Fall of the House of Usher, The Juniper Tree, Hydrogen Jukebox) to film scores (Koyaanisqatsi, Mishima, The Thin Blue Line, Powaqqatsi, A Brief History of Time, Candyman) to symphonic works (The Light, Itaipu, The Violin Concerto, “Low” Symphony) to string quartets (Nos. 2 – 5) recorded by the Kronos Quartet. He has created music for dance (A Descent into the Maelstrom for Molissa Fenley, In the Upper Room for Twyla Tharp) and such unclassifiable theater pieces as The Photographer, 1000 Airplanes on the Roof and The Mysteries And What’s So Funny?.
Among his recently completed works are The Witches of Venice, a ballet created by Beni Motressor and commissioned by Teatro alla Scala; The Voyage, commissioned by the Metropolitan Opera; Orphée, a chamber opera based on the film by Jean Cocteau, La Belle et la Bête based on a Jean Cocteau film of the same title and the third and final piece in his Cocteau trilogy, a dance/theater work, with choreographer Susan Marshall, based on the film Les Enfants Terribles; Symphony No. 2, commissioned by the Brooklyn Philharmonic Orchestra; Symphony No. 3, premiered by the Stuttgart Chamber Orchestra; The Marriages Between Zones Three, Four and Five with author Doris Lessing; Songs of Milarepa for baritone and orchestra; “Heroes” Symphony, written for choreographer Twyla Tharp and based on the music of David Bowie and Brian Eno; and a film score for the movie Kundun, directed by Martin Scorsese, for which he received both a Golden Globe Nomination as well as an Academy Award Nomimation for Best Score. Current projects include two collaborations with Robert Wilson, Monsters of Grace and White Raven.
In February, 1999, Philip Glass won the Golden Globe Award for Best Score for the movie The TrumanShow.
Philip Glass was made a Chevalier de l’Ordre des Arts et des Lettres by the French government in 1995 and has been awarded honorary degrees from Brandeis University, The University of the Arts in Philadelphia and The State University of New York in Buffalo.
Lucinda Childs ha iniziato la sua carriera come coreografa e performer nel 1963 come membro del Judson Dance Theater di New York. Dopo aver formato la sua compagnia di danza nel 1973, ha collaborato con Robert Wilson e Philip Glass in Einstein on the Beach opera, partecipando come performer e coreografa principale, opera per la quale le è stato assegnato un Obie Village Voice. Ha anche partecipato alle riprese dell’opera nel 1984, e nel 1992. Dal 1979, Lucinda Childs collabora con un gran numero di compositori e designers realizzando tra l’altro Dance con Philip Glass e Sol LeWitt nel 1979 e Available Light con John Adams e Frank Gehry nel 1983. Ha creato coreografie per numerose compagnie di danza tra cui Paris Opera Ballet, Bayerisches Staatsballet, Martha Graham Dance Company e Les Ballets de Monte Carlo. Lucinda Childs ha inoltre lavorato nel teatro lirico, con il regista Luc Bondy, alla realizzazione delle opere Salomè (1992-95), Reigen (1993-94), Don Carlos (1996) e Macbeth (1999). Nel 1995, ha diretto la sua prima opera, Zaide. Nel 1979 ha ottenuto un Guggenheim Fellowship e nel 1996 è stata insignita del titolo di Officier dans l’Ordre des Arts e des Lettres, uno dei più prestigiosi riconoscimenti dati dal governo francese per eminenti contributi nel campo delle arti. Tra i lavori più recenti si ricordano, The Chairman dances (2000) per i Ballets de Montecarlo, Largo (2001), una creazione per Mikhail Baryshnikov e L’uccello di fuoco (2005). Nel giugno 2009, il programma televisivo ARTE ha trasmesso il film documentario di Patrick Bensard, La Cinémathèque de la Danse, che vede Lucinda Childs in prova con Mikhail Baryshnikov, e il Ballet de L’Opéra du Rhin a New York , Londra, e Parigi, e comprende interviste con Mikhail Baryshnikov, Philip Glass, Anna Kisselgoff, Yvonne Rainer, Susan Sontag, e Robert Wilson. Nel 2001 riceve il Life Time Achievement Award Bessie, e nel 2004 è nominata dal governo francese al rango di Commandeur dans l’ordre des Arts et des Lettres.
LUCINDA CHILDS began her career as choreographer and performer in 1963 as an original member of the Judson Dance Theater in New York. After forming her own dance company in 1973, Ms. Childs collaborated with Robert Wilson and Philip Glass on the opera Einstein on the Beach, participating as leading performer and choreographer, for which she was awarded a Village Voice Obie. She also participated in the revivals of the opera in 1984, and 1992 and Ms. Childs choreography for the opera will be reconstructed for the 2012 revival of the opera which will open The Brooklyn Academy of Music’s Next Wave Festival in September 2012.
Since 1979, Ms. Childs has collaborated with a number of composers and designers, including John Adams and Frank Gehry, on a series of large-scale productions. The first of these was DANCE choreographed in 1979 with music by Philip Glass, and a film/decor by Sol LeWitt, for which Ms. Childs was awarded a Guggenheim Fellowship. DANCE was revived in July, 2009 for Bard’s Summer Festival, and DANCE has toured in the Fall of 2009 with a season at the Joyce Theatre in New York with additional touring in the United States and Europe in 2010- 2011.
During 1977-78, Ms. Childs performed opposite Wilson, in his two-act play I Was Sitting On My Patio This Guy Appeared I Thought I Was Hallucinating, and in 1987-88, in Wilson’s production of Heiner Muller’s Quartett at the American Repertory Theatre in Cambridge, Massachusetts. In 1996-97, she appeared Wilson’s production of La Maladie de la Mort by Marguerite Duras, opposite French actor Michel Piccoli. In 2001 Childs appeared as dancer and performer and in Philip Glass and Robert Wilson’s opera, White Raven at Lincoln Center in New York, for which she choreographed her solo UNDERWATER. This was included in her solo program at the Kitchen with DESCRIPTION (of a Description) with a text by Susan Sontag music and décor by Hans Peter Kuhn. In 2007 she appeared in Robert Wilson’s production of Bach’s Passion of Saint John at the Théâtre de Chatelet in Paris.
Since 1981, Ms. Childs has received a number of commissions from major ballet companies; these include the Paris Opéra Ballet, Pacific Northwest Ballet, Berlin Opera Ballet, Lyon Opéra Ballet, In 2003, Ms Childs choreographed Ravel’s DAPHNIS AND CHLOE, for the Geneva Opera Ballet and revived CONCERTO with music by Henry Gorecki, which choreographed for her own company in 1993. In 2003, she also choreographed a new solo for Mikhail Baryshnikov, OPUS ONE with music by Alban Berg, and in 2004, Bartok’s MANDARIN MERVEILLEUX for the Ballet de l’Opéra du Rhin. where DANCE was revived and performed at the Theatre de la Ville in Paris and in the Festival de la Danse in Cannes. In 2005, Ms Childs choreographed a TEN PART SUITE for the Boston Ballet with music by Arcangelo Corelli, which premiered in Boston at the Wang Center. She also choreographed Stravinsky’s FIREBIRD for MaggioDanza in Florence which was presented in a program that included a revival of John Adam’s CHAIRMAN DANCES choreographed for Les Ballets de Monte Carlo in 2000, and LARGO, a solo choreographed for Mikhail Baryshnikov in 2001. She has also choreographed Stravinsky’s SYMPHONY OF PSALMS for MaggioDanza in 2007 which was revived by Introdans Company in the Netherlands in 2011. CHAMBER SYMPHONY with music by John Adams was revived by the Bayerisches Staats Ballett in Munich, in 2007 where it premiered in 1994 and in the same year she returned to the Opéra du Rhin to choreograph and direct Stravinsky’s LE ROSSIGNOL, and OEDIPUS REX, for the Opéra du Rhin which premiered in Strasbourg in 2007. She choreographed TEMPO VICINO with music by John Adams for the Ballet National of Marseille which premiered in May, 2009, and SONGS FROM BEFORE with music by Max Richter for the Ballet Du Rhin which premiered in November 2009 and was performed Theatre de la Ville in Paris in the Spring, 2010.
Since 1992, Ms. Childs has worked extensively in the domain of opera, in Luc Bondy’s production of Richard Strauss’s SALOME, which she choreographed for the Salzburg Festival, and in 1999, which was revived for La Scala in Milan in March, 2007. In addition, she choreographed Bondy’s production of Verdi’s MACBETH for the Scottish Opera and in 1995, and Peter Stein’s De Nederlandse Opera’s production of MOISE ET ARON. That same year Ms. Childs directed her first opera, Mozart’s ZAIDE, for La Monnaie in Brussels. In 2001, Ms Childs choreographed Los Angeles Opera’s production of Wagner’s LOHENGRIN, conducted by Kent Nagano. In 2002, Ms. Childs directed Gluck’s ORFEO ED EURIDICE for the Scottish Opera and in 2003, Ms. Childs was invited to return to Los Angeles Opera to choreograph and direct a new production of ORFEO ED EURIDICE. Ms. Childs also choreographed Roland Aeschlimann’s production of Wagner’s PARSIFAL, which premiered at the Grand Theatre de Genève in 2004, and most recently she choreographed John Adams new opera, DOCTOR ATOMIC, which premiered in 2005 with the San Francisco Opera, and was revived by the Holland Festival, and at the Lyric Opera of Chicago in 2007. Ms Childs will choreograph and direct Vivaldi’s opera FARNACE for the Opera du Rhin to premiere in April 2012, and Ms Childs has been named principal choreographer for the Ballet du Rhin.
Teatro Valli, Piazza Martiri del VII Luglio, 42121 Reggio Emilia
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Change Performing Arts
La produzione 2012 di Einstein on the beach, opera in 4 atti, è stata commissionata da: BAM; the Barbican, London; Cal Performances University of California, Berkeley; Luminato, Toronto Festival of Arts and Creativity; De Nederlandse Opera/The Amsterdam Music Theatre; Opéra et Orchestre National de Montpellier Languedoc-Rousillon; University Musical Society of the University of Michigan.
Produzione Pomegranate Arts, Inc. in associazione con Change Performing Arts