Los Angeles Opera’s ‘Akhnaten’ basks in regal glory at the Dorothy Chandler Pavilion

“Akhnaten,” presented by the Los Angeles Opera at the Dorothy Chandler Pavilion, is the third in a trilogy of “portrait operas” by Philip Glass. The show continues on select days through Nov. 27. (Photo courtesy Los Angeles Opera)
Juggling plays an important role in the staging of “Akhnaten,” and is executed superbly by performers who were imported from the London production. (Photo courtesy Los Angeles Opera)

PUBLISHED: November 10, 2016 at 9:21 p.m. | UPDATED: August 28, 2017 at 6:05 a.m.

The year Philip Glass’ meditative minimalist opera “Akhnaten” had its world premiere in 1983, Ronald Reagan was president, the final episode of “M*A*S*H” aired, the first Hooters opened and no one had ever heard of a smartphone.

A span of 33 years separates that premiere at the Stuttgart State Opera in Germany and the eye-dazzling production of “Akhnaten” that Los Angeles Opera unveiled Saturday at the Dorothy Chandler Pavilion, a production that can only be described as visionary.

It’s not the first time “Akhnaten” has been presented locally; that title goes to Long Beach Opera, which staged it in 2011. But for all its good intentions, Long Beach Opera did not have the resources — musically or theatrically — to bring the full force of Glass’ creation to the stage. That title goes to L.A. Opera.

The accolade “must see” is greatly overused. But in the case of L.A. Opera’s “Akhnaten,” it is the only way to properly describe the experience, because words cannot convey an adequate description of the production’s musical and visual impact. Its only recent equivalent would be Robert Wilson and Glass’ opera “Einstein on the Beach,” which was presented by L.A. Opera as part of a world tour in 2012.

“Akhnaten” is the third of Glass’ “portrait operas,” which began with “Einstein on the Beach” in 1975, followed by “Satyagraha” (about Mahatma Gandhi) in 1980. Each opera is a meditation: Einstein on the realm of science; Gandhi on the power of nonviolent political protest; and “Akhnaten” about the pharaoh who ruled 18th Dynasty Egypt (1375 B.C. to 1358 B.C.), and introduced the first state-sponsored monotheistic religion, with himself as the son of the sun god, Aten.

The production, which had its premiere in March at the English National Opera, is directed by Phelim McDermott with a remarkable combination of sculptural subtlety and circus-like flair. It features towering sets and stunning minimalist vistas by Tom Pye. The eye-walloping, period-melding costumes are by Kevin Pollard, with artistically sculptural lighting by Bruno Poet.

“Akhnaten” is conducted by L.A. Opera’s artist in residence, Matthew Aucoin, and marks the young conductor’s first appearance at the Dorothy Chandler Pavilion. It also is the first time the L.A. Opera orchestra has ever taken on an opera by Glass.

There are those who believe because Glass’ minimalist formula appears to be simple — with its repetitions of arpeggiated phrases and modulating instrumentation, from trilling flutes to pounding percussion — it should be simple to perform. It is not. It is anything but. On opening night, Aucoin and the orchestra were still in the process of coming to terms with the dynamics of Glass’ score. When it was good, it was very, very good. When it was not, the threads that bind the score together began to unravel and fray at the edges. But if this was a trial by fire, they passed through it and can only gain strength in the upcoming performances.

In contrast, Grant Gershon, who has conducted many pieces from the minimalist repertory as head of the Los Angeles Master Chorale, molded the opera’s large chorus into a powerful, synchronous unit.

“Akhnaten” is divided into three acts (with two intermissions). The opening scene depicts the funeral of Amenhotep III, Akhnaten’s father, and introduces Akhnaten’s mother, Queen Tye (Stacey Tappan) costumed as a stately British dowager; the pharaoh’s principal adviser, Aye (Patrick Blackwell), who rather resembles a voodoo priest in a black suit with a human skull affixed to his top hat; and Akhnaten’s wife-to-be, the beautiful princess Nefertiti (J’Nai Bridges), who is every bit as regal as her famous statue.

As Amenhotep III is prepared for his voyage to the land of the dead, his young, decidedly androgynous son, Akhnaten (sung by countertenor Anthony Roth Costanzo), undergoes a metamorphosis from that of a naked pupa to a gloriously bejeweled butterfly whose radiance is accentuated by the glowing disk of the sun.

Costanzo captures perfectly the otherworldliness and sexual ambivalence of Akhnaten. He has a strong, bright voice that melded beautifully in his duets and trios with Tappan and Bridges. Unfortunately in his major aria, the “Hymn to Aten” (sung in English), his diction was not sufficient to convey the meaning in a production that does not employ supertitles. Impressive diction was never a problem for Zachary James, who presented a towering presence as the opera’s English-speaking narrator/Scribe.

In a fascinating juxtaposition of styles, the almost frenetic visual scheme of the densely populated first act gives way in Act 2 to scenes of pure, sculptural minimalism.

A love duet for Akhnaten and his bride features the couple entering from opposite sides of the stage draped in yards of red fabric. One stately step at a time, they gradually move toward one another until their lips and fingers meet. Then the young pharaoh ascends the throne set against an enormous glowing sphere representing the sun and the moon.

For many people in the audience, this was their first exposure to a Glass opera. At his preconcert talk, Aucoin urged them not to try to affix a traditional operatic meaning to the performance, but rather allow its unique sense of time, music and message to “wash over them.” It seemed to work. The audience was transfixed throughout and exuberant when it came time for an ovation.

Jim Farber is a Los Angeles-based freelance writer.