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  Наименование CD :
   Waiting For The Barbarians

Год издания : 2008

Компания звукозаписи : Orange Mountain, (wb)

Время звучания : 2:13:42

К-во CD : 2

Код CD : OMM0039

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Opera)      

Waiting for the Barbarians, opera (В ожидании варваров)

About (en)

About (en,wiki)

Review (en)

Либретто оперы основанно на новелле Дж М Кутзее - В ожидании варваров (нобелевская премия 2003)

An opera in two acts by Philip Glass

Music by Philip Glass

Libretto by Christopher Hampton based on the novel by John M. Coetzee

Philharmonisches Orchester Erfurt

Opernchor des Theaters Erfurt

Conducted by Dennis Russell Davies

Magistrate: Richard Salter

Colonel Joll: Eugene Perry

Warrant Officer Mandel: Michael Tews

Barbarian Girl: Elvira Soukop

Cook: Kelly God


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 wasn't 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 Weill's 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 recording's 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 doesn't 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 doesn't 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 it's a real achievement.

All Music Guide


John Coetzee, the South African writer and Nobel Prize Winner for Literature 2003, first published Waiting for the Barbarians as a novel in 1980. I contacted John Coetzee about adapting his book into an opera back in 1991 and made my first treatment of the opera that same year. I'd begun to do this kind of social/political opera in 1979 with Satyagraha, an opera that takes place in South Africa, concerning the life of Gandhi and the possibility of social change through non-violence.

My aim then, as it is now, was to preserve Coetzee's bold allegorical approach while dramatizing the classic themes of confrontation, crisis and redemption so the audience itself is left weighing the meaning of good and evil in their own lives. To reduce the opera to a single historical circumstance or a particular political regime misses the point. That the opera can become an occasion for dialogue about political crisis illustrates the power of art to turn our attention toward the human dimension of history.

- Philip Glass



Waiting for the Barbarians is an opera in two acts composed by Philip Glass, with libretto by Christopher Hampton based on the 1980 novel of the same name by South African-born author John M. Coetzee. The opera was commissioned by the Erfurt Theater in Erfurt, Germany.

Waiting for the Barbarians premiered on September 10, 2005 at Erfurt Theater, directed by Guy Montavon and conducted by Dennis Russell Davies. There was one other European performance in Amsterdam in 2006. Its American premiere was performed on January 19, 2007 by the Austin Lyric Opera in Austin, Texas. The opera was also performed on June 12, 2008 at the Barbican Centre in London


On the border of an un-named Empire, the Magistrate of a relatively peaceful and unimportant town spends the days working for the well-being of his community and the nights in the company of his lady-friends.

Abruptly, the peace of this seeming idyll is broken by the arrival of a detachment of the government's Civil Guard, headed by the cold, obsessive Colonel Joll, apparently in response to rumors that the barbarians are massing to attack the Empire. As Joll says, "We are forced to begin a short war in order to safeguard the peace."

Joll and his men set out to attack a group of the barbarians, and bring back to town a number of prisoners, whom they interrogate, torture, and, in the case of one old man, kill. The Magistrate protests, at first weakly; Joll then returns to the capital city of the Empire to report and to plan further attacks on the barbarians.

The Magistrate discovers a barbarian girl, crippled and partially blinded, begging in the town. He feels a mixture of pity and, increasingly, attraction to her, and arranges for her to stay and work in the establishment where his female friend the cook works. He spends time with the girl, questioning her about the interrogation and torture by Joll's men which has left her disabled.

Confused by his growing feelings of sexual attraction, pity, and anger, the Magistrate takes the girl on a journey through the wilderness in order to return her to her people, the Barbarians. Upon his return to the town, he finds that Joll has been spreading doubts about the Magistrate's loyalty to the Empire; the populace accuse him of being a traitor and "barbarian-lover", despite his protestations that, far from being a military threat, the barbarians are peaceful nomads who have no interest in occupying the Empire.

The Magistrate himself is now imprisoned in solitary confinement for some months and tortured. Eventually he is released; the Empire's military forces have been routed by the guerilla tactics of the barbarians, and they are being "temporarily" withdrawn to the capital of the Empire, ostensibly to wait for next year's Spring offensive.

The town's supplies have been pillaged by the troops, and the Magistrate exhorts the people to be brave and to work to survive the winter by planting root vegetables, catching and drying fish, and conserving the little food that has been left to them. He goes to visit his old friend the Cook, who rebukes him for having used the Barbarian girl and for not having been able to understand her at all. He is left alone, wondering even more about who the true barbarians are.

'Wikipedia lib.'


Ожидание Варваров (опера)

Опера в двух действиях, составленных Филипом Глассом, с либретто Кристофером Хэмптоном, основанным на романе 1980 года того же самого имени автором южноафриканского происхождения Джоном М. Коеци. Опера была уполномочена Эрфуртским Театром в Эрфурте, Германия.

На границе неназванной Империи Судья относительно мирного и незначительного города проводит дни, работая на благосостояние его сообщества и ночи в компании его подруг.

Резко, мир этой кажущейся идиллии сломан прибытием отделения Жандарма правительства, возглавляемого холодным, одержимым Полковником Джоллом, очевидно в ответ на слухи, что варвары сосредотачиваются, чтобы напасть на Империю. Как Джолл говорит, "Мы вынуждены начать короткую войну, чтобы защитить мир."

Joll и его мужчины намереваются нападать на группу варваров, и возвращать городу много заключенных, которых они опрашивают, мучают, и, в случае одного старика, убивают. Судья выступает, сначала слабо; Joll тогда возвращается в столицу Империи, чтобы сообщить и запланировать дальнейшие нападения на варваров.

Судья обнаруживает варварскую девочку, которой наносят вред и частично ослепленный, прося в городе. Он чувствует смесь жалости и, все более и более, привлекательность ей, и принимает меры, чтобы она осталась и работала в учреждении, где его подруга повар работает. Он проводит время с девочкой, расспрашивая ее о допросе и пытке мужчинами Джолла, которая оставила ее инвалида.

Перепутанный его растущими чувствами сексуальной привлекательности, жалости, и гнева, Судья берет девочку на поездке через дикую местность, чтобы возвратить ее ее людям, Варварам. По его возвращению в город он находит, что Joll распространял сомнения относительно лояльности Судьи в Империю; население обвиняет его в том, что он предатель и "варварский любитель", несмотря на его заявления, что, далекий от того, чтобы быть военной угрозой, варвары - мирные кочевники, у которых нет никакого интереса к занятию Империи.

Сам судья теперь заключен в тюрьму в одиночное заключение в течение нескольких месяцев и замучен. В конечном счете он освобожден; вооруженные силы Империи были разбиты партизанской тактикой варваров, и они "временно" забираются в столицу Империи, якобы чтобы ждать Весеннего наступления следующего года.

Поставки города были ограблены войсками, и Судья призывает людей быть храбрыми и работать, чтобы пережить зиму, прививая овощи корня, ловя и суша рыбу, и сохраняя немного еды, которую оставили им. Он идет, чтобы посетить его старого друга Повар, который упрекает его за то, что использовал Варварскую девочку и за то, что не был в состоянии понять ее вообще. Он оставлен в покое, задаваясь вопросом даже больше о том, кто истинные варвары.



Сцена 1: "Фактически, у Нас Никогда Не Было Тюрьмы"

Сцена 2: Фантастический ландшафт № 1

Сцена 3: "Вы Посылали за Мной"

Сцена 4: "Вы Работаете Поздно"

Сцена 5: "Обычно Разговор, Мы никогда не Одобряли бы Пытку..."

Сцена 6: "Снимите Свою Кепку"

Сцена 7: Фантастический ландшафт № 2

Сцена 8: "Вам нравится Жить в Городе?"

Сцена 9: "... Продемонстрировать Нашу Силу Варварам"

Сцена 10: "У Вас был хороший вечер?"

Сцена 11: Фантастический ландшафт № 3

Сцена 12: "Что это?"

Сцена 13: "Вы можете видеть их?" (Поездка в Горы)

Сцена 14: "Кто Дал Вам Разрешение Оставить Вашу Должность?"


Сцена 1: "Здесь, В темноте"

Сцена 2: Фантастический ландшафт № 4

Сцена 3: "Что Продолжается?"

Вводная часть к Сцене 4

Сцена 4: "Возможно, Вы Были бы Так добры"

Сцена 5: "Враг, Варварский Любитель!"

Сцена 6: "Таким образом, Мы Все еще Кормим Вас Хорошо?"

Сцена 7: Фантастический ландшафт № 5

Сцена 8: "Скажите Мне, Что Произошло"

Сцена 9: "Вы не должны Пойти"

Сцена 10: "Наш Город Красив"

  Соисполнители :

Andreas Mitschke (Vocals)
Elvira Soukop (Vocals)
Eugene Perry (Vocals)
Grit Redlich (Vocals)
Kelly God (Vocals)
Manuel Meyer (Vocals)
Marisca Mulder (Vocals)
Mate Solyom-Nagy (Vocals)
Michael Tews (Vocals)
Peter Umstadt (Vocals)
Richard Salter (Vocals)

№ п/п

Наименование трека



   1 01 Act I. Prelude         0:05:07 Philip Glass - Waiting For The Barbarians, Opera
   1 02 Act I. Scene 01. In Fact, We Never Had A Prison         0:06:38  
   1 03 Act I. Scene 02. Dreamscape No.1         0:03:44  
   1 04 Act I. Scene 03. You Sent For Me         0:08:49  
   1 05 Act I. Scene 04. You're Working Late         0:04:27  
   1 06 Act I. Scene 05. Normally Speaking, We Would Never Approve Of Torture         0:03:29  
   1 07 Act I. Scene 06. Take Off Your Cap         0:07:12  
   1 08 Act I. Scene 07. Dreamscape No.2         0:02:37  
   1 09 Act I. Scene 08. Do You Like Living In The Town         0:08:46  
   1 10 Act I. Scene 09. ...To Demonstrate Our Strength To The Barbarians         0:05:45  
   1 11 Act I. Scene 10. Did You Have A Good Evening         0:04:09  
   1 12 Act I. Scene 11. Dreamscape No.3         0:02:47  
   1 13 Act I. Scene 12. What Is It         0:02:40  
   1 14 Act I. Scene 13. Can You See Them         0:04:00  
   1 15 Act I. Scene 14. Who Gave You Permission To Desert Your Post         0:02:00  
   2 01 Act II. Scene 01. Here, In The Dark         0:06:42  
   2 02 Act II. Scene 02. Dreamscape No.4         0:02:14  
   2 03 Act II. Scene 03. What Is Going On         0:08:00  
   2 04 Act II. Prologue To Scene 4         0:04:58  
   2 05 Act II. Scene 04. Perhaps You Would Be So Kind         0:06:40  
   2 06 Act II. Scene 05. Enemy, Barbarian Lover         0:04:42  
   2 07 Act II. Scene 06. So We're Still Feeding You Well         0:06:10  
   2 08 Act II. Scene 07. Dreamscape No.5         0:03:42  
   2 09 Act II. Scene 08. Tell Me, What Has Happened         0:08:08  
   2 10 Act II. Scene 09. You Don't Have To Go         0:05:12  
   2 11 Act II. Scene 10. Our Town Is Beautiful         0:05:05  


 T   'щелкнуть' - переход к тексту композиции.

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