{"id":3346,"date":"2016-11-24T13:23:00","date_gmt":"2016-11-24T21:23:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/culturecrash\/?p=3346"},"modified":"2016-11-25T08:00:48","modified_gmt":"2016-11-25T16:00:48","slug":"akhnaten-at-los-angeles-opera","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/culturecrash\/2016\/11\/akhnaten-at-los-angeles-opera.html","title":{"rendered":"&#8220;Akhnaten&#8221; at Los Angeles Opera"},"content":{"rendered":"<p>[contextly_auto_sidebar]<\/p>\n<p>THE Philip Glass opera <em>Akhnaten<\/em>, the very abstracted story of the Egyptian pharaoh who lived 35 centuries ago, is now at Los Angeles Opera. Glass considers it a trilogy, alongside his epochal <em>Einstein on the Beach<\/em> and his Gandhi opera,\u00a0<i>Satyagraha.<\/i><\/p>\n<p>Akhnaten the man was a curious guy.\u00a0Imagine being a fairly important figure &#8212; he is credited with basically <em>inventing<\/em> monotheism through his worship of a\u00a0sun god, was a pharoah, etc. &#8212; and being less well known than your son, Tut. (King Tutankhamun, after all, only reigned for a few years, and died at 18. If he&#8217;d been a 21st century American, he would not have been old enough to drink.)<\/p>\n<p>And Miles Davis made an album about Akhnaten&#8217;s wife, Nefirtiti.<\/p>\n<p>The Glass opera, which is not put on all that much, thus serves as the introduction to the pharaoh and his plight for a lot of even pretty-educated people.<\/p>\n<p>Because of pre-holiday madness here in the turkey-besotted States, I will have to make this brief, but I quite loved the opera and the LA production.<\/p>\n<p>There was, for what it&#8217;s worth, a Black Lives Matter protest outside Chandler Pavilion right before the show.<a href=\"https:\/\/www.artsjournal.com\/culturecrash\/wp-content\/uploads\/2016\/11\/Akhenaten_with_blue_crown.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-3347\" src=\"https:\/\/www.artsjournal.com\/culturecrash\/wp-content\/uploads\/2016\/11\/Akhenaten_with_blue_crown-225x300.jpg\" alt=\"akhenaten_with_blue_crown\" width=\"225\" height=\"300\" srcset=\"https:\/\/www.artsjournal.com\/culturecrash\/wp-content\/uploads\/2016\/11\/Akhenaten_with_blue_crown-225x300.jpg 225w, https:\/\/www.artsjournal.com\/culturecrash\/wp-content\/uploads\/2016\/11\/Akhenaten_with_blue_crown.jpg 340w\" sizes=\"auto, (max-width: 225px) 100vw, 225px\" \/><\/a><\/p>\n<p>More later<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar] THE Philip Glass opera Akhnaten, the very abstracted story of the Egyptian pharaoh who lived 35 centuries ago, is now at Los Angeles Opera. Glass considers it a trilogy, alongside his epochal Einstein on the Beach and his Gandhi opera,\u00a0Satyagraha. Akhnaten the man was a curious guy.\u00a0Imagine being a fairly important figure &#8212; he [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[30,29],"tags":[721],"class_list":{"0":"post-3346","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-los-angeles","7":"category-west-coast","8":"tag-opera","9":"entry","10":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/3346","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/comments?post=3346"}],"version-history":[{"count":3,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/3346\/revisions"}],"predecessor-version":[{"id":3350,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/3346\/revisions\/3350"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/media?parent=3346"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/categories?post=3346"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/tags?post=3346"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}