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Live in HD Broadcast: November 23It is time for a transition of power in Ancient Egypt. The pharaoh Amenhotep III has died, and his son, Amenhotep IV, will inherit the crowns of Upper and Lower Egypt—and with them, the religious and social traditions that have served the Egyptian people for thousands of years. Yet this young pharaoh is full of strange ideas.

1. Art Of Ancient Egypt

Sweeping aside the pantheon of Egyptian gods, he institutes a bold new religion dedicated to the sun god Aten. Renaming himself “Akhn-Aten” (“Spirit of Aten”), the pharaoh sets about reforming Egyptian society to accord with his new beliefs. Soon, however, the conservative Egyptian priests rebel against what they view as Akhnaten’s sacrilegious reforms—and set about destroying all traces of his memory.

In the late 19th century, archaeologists working on the banks of the Nile made a remarkable discovery: some four hundred fragments of letters addressed to a pharaoh named Akhnaten. The significance of the find was unmistakable, but who was this mysterious pharaoh? Unlike other Egyptian leaders, whose towering pyramids, richly decorated tombs, and exquisite temples left an indelible mark on Egypt’s landscape, Akhnaten’s reign was cloaked in mystery. And as archaeologists dug into his legacy, they unearthed a series of religious and social reforms so bold, so counter to ancient Egyptian traditions, that his successors felt compelled to erase all traces of this rebellious leader’s reign.This season, Philip Glass’s landmark opera Akhnaten receives its Metropolitan Opera premiere in an astonishing new production by Phelim McDermott. A mesmerizing mix of ancient imagery and modern stage spectacle, McDermott’s production is deeply influenced by Egyptian art and artifacts, yet it makes no claim to authentically represent Akhaten’s life.

Instead, McDermott says, the production attempts to “create a mythical, dreamlike version of ancient Egypt,” one that “communicates what it was like for people in the early 20th century to rediscover this ancient world.” Star countertenor Anthony Roth Costanzo agrees. “This production offers us a view of Egypt like it would have been imagined in 1922, when English explorers found Tutankhamun’s tomb,” he explains. “It’s a representation of fantasies about ancient Egypt, mixed with images inspired by real ancient artifacts. So what you see is a creative depiction of history.”This guide takes the idea of a “creative depiction of history” as its jumping-off point, inviting teachers and students alike to ask: How do we construct narratives about the distant past? What can modern art teach us about the ancient world? And what can archaeological discoveries teach us about the modern age?

The materials on the following pages include an introduction to Philip Glass’s musical language, a historical overview of Akhnaten’s life and reign, and classroom activities that will bring the opera’s music and story to life. By delving into Akhnaten’s music, drama, and design, this guide will forge interdisciplinary classroom connections, inspire critical thinking, and help students excavate the ancient world behind Glass’s timeless work. Karen Kamensek, ConductorPhelim McDermott, ProductionTom Pye, Set and Projection DesignerKevin Pollard, Costume DesignerBruno Poet, Lighting DesignerSean Gandini, ChoreographerThis production was originally created by English National Opera and LA OperaIn collaboration with ImprobableProduction gift of the Rosalie J. Coe Weir Endowment Fund and the Wyncote Foundation, as recommended by Frederick R. Haas and Rafael GomezAdditional funding from The H.M.

Art Of Ancient Egypt

Agnes Hsu-Tang, Ph.D. And Oscar Tang Endowment Fund, Dominique Laffont, Andrew J. Martin-Weber, The Walter and Leonore Annenberg Endowment Fund, American Express, and the National Endowment for the Arts©1983 Dunvagen Music Publishers Inc. Used by permission. This guide is intended to cultivate students’ interest in Wozzeck, whether or not they have any prior acquaintance with opera or the performing arts.