EINSTEIN ON THE BEACH pomegranate arts
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Praise for Einstein on the Beach 2012-13

"The musical event of the year. Transcending its seventies origins, 'Einstein' proved to be a creation of timeless artifice, like some grand Baroque entertainment whose meaning is now lost but whose beauty blazes on." —Alex Ross, The New Yorker, "Ten Memorable Classical Performances of 2012" (#1)

"Today, maybe more than ever, 'Einstein' comes across as an original, visionary and generous work, anything but polemical. —Anthony Tommasini, The New York Times

"Glass' score and Wilson's images have been enough to make Einstein on the Beach the most influential opera of the last 50 years…But only in the theater can Glass' hypnotically repetitive music and Wilson's mythically evocative staging and sublime lighting become the transport of a mystical experience….This latest 'Einstein,' though identical to the original, looks and sounds as never before. Wilson's lighting has the benefit of today's technology. The chorus is a fluid, fluent marvel…The dancers are a dream, demonstrating Child's soaring choreography to be as meaningfully opposite to Glass' music as Balanchine's was to Stravinsky's. —Mark Swed, The Los Angeles Times

"Without question among the most memorable theatrical experiences I've had in the past few years." —Charles Isherwood, The New York Times

"An experience not to be missed." —Igor Toronyi-Lalic, The Times London

"A faultless production…as mesmerizing and rich as ever." —Michael Giltz, The Huffington Post, "Best Shows of 2012" (#1)

"'Einstein' may be even more ahead of the theater of 2012 than that of the 1970s." —Steven W Thrasher, Rolling Stone

"Magical" —Joshua Kosman, San Francisco Chronicle

"Still feels fresh and weird and mesmerizing. No plot, no characters, no intermission—yet five hours glided by." —-Justin Davidson, New York Magazine, "Top 10 Classical Music Performances of 2012"

"What makes 'Einstein On The Beach' so thrilling an experience is witnessing the various kinds of virtuosity: instrumental, choreographic and vocal." —Glenn Sumi, NOW Toronto

*****"No one, but no one, can design in quite Wilson's way." —Helen Shaw, Time Out NY

"More relevant than ever, judging by the ten-minute standing ovation that completed this marathon performance…. Five hours of a waking dream, which was over in a fleeting moment. …A lifetime isn't enough to erase the memory and emotional impact." —Thierry Hillériteau, Le Figaro

"Musicians, singers, actors, dancers, choreographer, composer, and stage director all unite to deliver the most extraordinary sensory experience we can live." —Armelle Heliot, Le Figaro

[Einstein is] more relevant than ever, judging by the ten-minute standing ovation that completed this marathon performance….Five hours of a waking dream, which was over in a fleeting moment. …A lifetime isn’t enough to erase the memory and emotional impact.
– –Thierry Hillériteau, Le Figaro

The extreme attention to detail is shocking. Each lighting scheme, each color tone, each facial expression, takes advantage of technological advances and the vast dimensions of the stage, all the while maintaining a troublingly human dimension. ..Humanity on this level is timeless. –Thierry Hillériteau, Le Figaro

Einstein on the Beach [is] a major work of the 20th century, a work that has revolutionized live performance worldwide.  -Armelle Heliot, Le Figaro


…the stunning musicians and choir are under the direction of veteran Michael Riesman, head of the Philip Glass Ensemble, and they are exceptional…Musicians, singers, actors, dancers, choreographer, composer, and stage director all unite to deliver the most extraordinary sensory experience we can live.  -Armelle Heliot, Le Figaro


It’s beautiful, it’s funny, it’s touching, it’s mesmerizing, it raises questions about the existence of man, about science, the future, it is undoubtedly the most spectacular work of the twentieth century that exists before us. -Armelle Heliot, Le Figaro

Einstein on the Beach takes the language of conventional lyricism and “academic” musical modernity and splashes noisily against it, entering into performing arts history… [Einstein is an] exhilarating sketch of complete art…a striking revival. –Benoît Fauchet, Diapason

[Einstein on the Beach] has overshadowed everything else done at the same time on a French stage. [Einstein] had such an influx of spectators, such success, and such ovations to reward the many actors of the revival of one of the most legendary works of the twentieth century. -Raphaël de Gubernatis, Le Nouvel Observateur

Einstein on the Beach appeared, in the eyes of many, as the most fantastic spectacle, the most extraordinary of the last half of the century.  This opera…remains the largest daydream one can discover. -Raphaël de Gubernatis, Le Nouvel Observateur

Einstein on the Beach has become a classic. –Franck Mallet, Classica

The vision [on stage] is a swirling ballet of light, dance, spoken word, song, and music. Einstein has left a profound mark on its era. –Franck Mallet, Classica

Today Einstein on the Beach is more revolutionary than when it was created.  It demonstrates once again how in theater it is not necessary to understand but get lost in the wonderful 'other' life of the stage. -Il Sole 24 Ore

About the 2012 Production - Articles & Reviews


TGV Magazine, March 2012 – "Einstein pour la Posterité"
PDF (English translation)

Classica, March 7, 2012 – "Einstein Was Right"
Link | PDF (English translation)

Le Monde, March 16, 2012 — "The Difficult Equation of Einstein on the Beach"
Link | PDF (English translation)

Le Figaro, March 18, 2012 — "Einstein on the Beach: The Miracle Renewed"
Link | PDF (English translation)

Le Figaro, March 19, 2012 — "Einstein Stands the Test of Time"
Link | PDF (English translation)

Diapason, March 18, 2012 — "Seen and Heard: Einstein on the Beach in Montpellier"
Link | PDF (English translation)

Le nouvel Observateur, March 20, 2012 — "Einstein on the Beach: The Resurrection of a Mythic Work"
Link | PDF (English translation)


Il Sole 24 Ore, March 25, 2012 –"Einstein Revolutionized the Beach"


The Times (UK), April 17, 2012 – "A five-hour Minimalist opera that's a Glass apart"

BBC Radio 3, April 21, 2012 – Music Matters (includes interviews with Philip Glass, Robert Wilson and Lucinda Childs)


THE VILLAGE VOICE, September 5, 2012 – "Fall Arts Guide 2012: Einstein Heads Back to the Beach"

THE NEW YORK TIMES, August 31, 2012 – "'Einstein' Seeks the Old Relativity"

THE FADER, May 1, 2012 – "Theory of Relativity: Director Robert Wilson on Einstein on the Beach"

THE WALL STREET JOURNAL, September 24, 2012— "Life on the 'Beach' Isn't Easy"
Link | PDF


THE SAN FRANCISCO CHRONICLE, October 25, 2012 – "'New Twists in 'Einstein on Beach' Revival"

SAN FRANCISCO CLASSICAL VOICE, October 26, 2012 – "'Einstein Casts Its Spell"

THE SAN FRANCISCO CHRONICLE, October 28, 2012 – "'Einstein on the Beach' review: Magical"

THE LOS ANGELES TIMES, October 29, 2012 – "In 'Einstein on the Beach,' Everything is Grandly Relative"


"Einstein remains a masterpiece; it has, thus far, triumphantly withstood the test of time. Einstein is constantly involving and almost religiously moving…an experience to cherish for a lifetime."
- John Rockwell, The New York Times

One of the truly pivotal artworks of our time."
- Alan Rich, Newsweek

“Einstein sends one out of the auditorium in a state of meditative euphoria…it remains among the most significant theatrical achievements of the entire post-World War II period.”
- Dale Harris, The Wall Street Journal

"In the vastness and complexity of its themes, the cultural centrality of its subject matter, and the daring, breadth and originality of its artistic means, it remains an achievement for which the descriptor "supreme" does not seem the least excessive. From the moment it begins, it seduces the viewer into an immense, imagined universe of its own…its spell never lets up for a second."
- Alan M. Kriegsman, Washington Post

"Einstein on the Beach is a pivotal work in the oeuvre of Philip Glass. It is the first, longest, and most famous of the composer’s operas, yet it is in almost every way unrepresentative of them. Einstein was, by design, a glorious “one-shot”—a work that invented its context, form and language, and then explored them so exhaustively that further development would have been redundant. But, by its own radical example, Einstein prepared the way—it gave permission—for much of what has happened in music theater since its premiere."
- Tim Page, Einstein on the Beach liner notes

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