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Philip Glass-Waiting For The Barbarians-2CD-FLAC-2008-FORSAKEN
Description :
Artist : Philip Glass
Album : Waiting for the Barbarians Label : Orange Mountain Genre : Opera Source : CD Street Date : 2008-07-08 Quality : 659 kbps / 44.1kHz / 2 channels Encoder : FLAC 1.2.1
Size : 662.63 MB
Time : 133:29min Url : http://www.philipglass.com
Disc 1/2 1. Prelude 5:06 2. Scene 1: “In fact, we never had a prison” 6:38 3. Scene 2: “Dreamscape No. 1″ 3:43 4. Scene 3: “You sent for me” 8:48 5. Scene 4: “Youre working late” 4:27 6. Scene 5: “Normally speaking, we would never approve of 3:29 torture…” 7. Scene 6: “Take off your cap” 7:11 8. Scene 7: “Dreamscape No. 2″ 2:36 9. Scene 8: “Do you like living in the town?” 8:45 10. Scene 9: “…To demonstrate our strength to the barbarians” 5:45 11. Scene 10: “Did you have a good evening?” 4:09 12. Scene 11: “Dreamscape No. 3″ 2:47 13. Scene 12: “What is it?” 2:40 14. Scene 13: “Can you see them?” 4:00 15. Scene 14: “Who gave you permission to desert your post?” 2:00 Disc 2/2 1. Scene 1: “Here, in the dark” 6:41 2. Scene 2: “Dreamscape No. 4″ 2:14 3. Scene 3: “What is going on?” 7:59 4. Prologue to Scene 4 4:58 5. Scene 4: “Perhaps you would be so kind” 6:40 6. Scene 5: “Enemy, Barbarian Lover!” 4:41 7. Scene 6: “So were still feeding you well?” 6:09 8. Scene 7: “Dreamscape No. 5″ 3:41 9. Scene 8: “Tell me, what has happened” 8:07 10. Scene 9: “You dont have to go” 5:11 11. Scene 10: “Our town is beautiful” 5:04
Waiting for the Barbarians is an opera composed by Philip Glass
on a libretto by Christopher Hampton and based on a novel by
Nobel Prize-winning author J.M. Coetzee. This project has been on
the back burner for a long time; Glass first contacted Coetzee
about adapting his book in 1991 and outlined a treatment of it
that year, but the finished product wasnt delivered until 2005.
This is a recording of the premiere, held September 10 of that
year at the Theatre Erfurt in Germany; in a way, it is
appropriate that this work should be heard in Germany first, as
it bears a kinship with the kind of ruthless efficiency that
typifies Weimar-era German works such as Bertolt Brecht and Kurt
Weills Der Jasager. However, its story is set in South Africa,
where a local official in a small town finds himself at a moral
crossroads as an invading, governmental military unit conducts a
series of torturous interrogations as a prelude to a tactical
strike against a locally based tribe. Glass must pick his
projects with a sixth sense of sagacity, as such a story is
strikingly timely in the United States in 2008, the year of the
recordings release, with the U.S. government having come under
fire for attempting to sidestep international conventions on
torture through a cleverly bureaucratic redefinition of the term
“torture.”
Waiting for the Barbarians is highly effective in a dramatic
sense, aided by an excellent libretto and vocal writing that is
as close to conversation as melody is willing to allow. Like Les
Enfants Terribles (1992), Waiting for the Barbarians represents a
step forward for Glass in his treatment of dramatic subjects; in
his early operas, there is such consistency of style that one
might tend to view them as part of an aesthetic continuum. The
basic components of this style are so strong that it doesnt
compromise the subjects of Glass early theater works, although
Glass only chooses properties that mean a great deal to him, so
any sense of uniformity across several projects — indeed, if it
truly existed as such — was fated to dissolve over time. While
the music here is unmistakably within Glass strongest idiom, the
orchestration is greatly varied, and the mood consistently
married to the progression of the tragic story as it unfolds. He
avoids typical operatic devices such as leitmotivs and set piece
arias and recitatives; individual voices come out from the
orchestration to underscore actions and emotions in the narrative
with clarity, immediacy, and concision. Waiting for the
Barbarians is as close to a play, or even an illustrated novel,
as an opera can get, and Glass approach helps convey a subtext,
which in part as Glass states, is that “opera can become an
occasion for dialogue about political crisis.”
The recording is live, and the ambiance tends to swallow the
voices a bit, but not by much; certainly the major difference
between this Orange Mountain Music release and a typical Nonesuch
recording of a Glass opera — back when such recordings were
regularly produced — would be that the voices would have a bit
more presence in the Nonesuch. This recording is so well made
that it doesnt make much of a difference, and one gets used to
the ambiance, which is similar to what one would hear in the
opera house anyway. For a major label to make an opera recording
like this ultimately involved such high overhead that it seemed
hardly worth the effort even if it sold well; coming through
Glass own label, this is in every way satisfactory in
communicating this major Glass effort, one that rightly he should
be very proud of as its a real achievement.
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